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"Glory to God in the highest, and on earth peace, good will toward men." 

Wl I li I /|f 

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I 8E^A\^ 

Stories of the Origin, Authorship, 
and Use of Hymns We Love 







Copyright, 191 7, by the 

Board of Publication of the General Council 

of the Evangelical Lutheran Church 

in North America 

All rights reserved 


My beloved wife 

Whose love for and knowledge of the hymns 
of the Church proved a source of inspiration and 
help in the preparation of these stories of the 
hymns, this volume is affectionately dedicated. 



Advent Hymns 9-14 

O how shall I receive Thee? 
On Jordan's banks the herald's cry. 
Thou Judge of quick and dead. 
Rejoice, all ye believers. 

Our E.\rliest Christmas Hymns i5~2i 

The Magnificat. 
The Benedictus. 
The Gloria in Excelsis. 
The Nunc Dimittis. 

Well Known Christmas Hymns 22-33 

Angels from the realms of glory. 

While shepherds watched their flocks by night. 

Hark! the herald-angels sing. 

Hark ! what mean those holy voices? 

Sion, the marvellous story be telling. 

Good news from heaven the angels bring. 

Away in a manger, no crib for His bed. 

O little town of Bethlehem. 

It came upon the midnight clear. 

Calm on the listening ear of night. 

Silent night! Holy night! 

Hymns tor the New Year 34-42 

How sweet the name of Jesus sounds. 
Jesus ! Name of wondrous love ! 
There is no name so sweet on earth. 
Our God, our Help in ages past. 
Great God! we sing that mighty Hand. 
O God of Jacob, by whose hand. 
Another year is damning. 
A few more years shall roll. 
Brief life is here our portion. 
One sweetly solemn thought. 
While with ceaseless course the sun, 
Come, let us anew our journey pursue. 



Epiphany Hymns 43-48 

As with gladness men of old. 
Songs of thankfulness and praise. 
Brightest and best of the sons of the morning. 
Light of the Gentile nations. 

Missionary Hymns 49-56 

From Greenland's icy mountains. 
The Son of God goes forth to war. 
Jesus shall reign where'er the sun. 
Thou, whose almighty word. 
Saviour, sprinkle many nations. 

Hymns of Penitence 57-63 

Out of the depths I cry to Thee. 
God of mercy ! God of grace ! 
Show pity, Lord; O Lord! forgive. 
Just as I am, without one plea. 

Lenten Hymns 64-74 

Alas ! and did my Saviour bleed. 
When I survey the wondrous Cross. 
Hail, Thou once despised Jesus! 
Paschal Lamb by God appointed. 
Jesus, Hail! enthroned in glory. 
O sacred Head, now wounded. 
Go to dark Gethsemane. 
Glory be to Jesus. 
In the Cross of Christ I glory. 

Hymns for Palm Sunday 75-83 

All glory, praise, and honor. 

Ride on, ride on in majesty! 

Oh, help us, Lord! each hour of need. 

When His salvation bringing. 

O Thou, who through this holy week. 

All hail the power of Jesus' name! 

Hail, holy, holy, holy Lord! 

Easter Hymns 84-97 

The strife is o'er, the battle done! 

Welcome, happy m.orning! age to age shall say. 

Christ Jesus lay in Death's strong bands. 

Christ the Lord is ris'n today. 

Christ the Lord is risen again. 

Christ the Lord is risen today. 

The day of Resurrection! 



Shepherd Hymns 98-103 

The Lord my Shepherd is. 

Saviour, like a shepherd lead us. 

I am Jesus' little lamb. 

I thirik, when I read that sweet story of old. 

Shepherd of tender youth. 

Hymns of the Ascension 104-112 

Conquering Prince and Lord of glory. 

A hymn of glory let us sing. 

See the Conqueror mounts in triumph. 

Draw us to Thee, Lord Jesus. 

Hail the day that sees Him rise. 

Hymns to the Holy Spirit 113-125 

Come, Holy Spirit, God and Lord! 
Now pray we all God, the Comforter. 
Come, O come, Thou quickening Spirit. 

Holy Spirit, enter in. 

Oh, enter. Lord, Thy temple. 

Come, Holy Ghost, in love. 

Come, Holy Ghost, our souls inspire. 

Hymns to the Holy Trinity 126-134 

Holy, Holy, Holy! Lord God Ahnighty! 

Lead us, heavenly Father, lead us. 

Come, Thou almighty King. 

Hail! holy, holy, holy Lord. 

Hail, Father, Son and Holy Ghost. 

All glory be to God on high. 

Holy Father, hear my cry. 

Holy, holy, holy Lord. 

May the grace of Christ our Saviour. 

Hymns of the Christian Life I35""i43 

Jesus, still lead on. 
Jesus, Thy Blood and Righteousness. 
Guide me, O Thou great Jehovah. 
He leadeth me! O blessed thought! 
One sweetly solemn thought. 

Hymns of Christian Service 144-149 

A charge to keep I have. 
Ye servants of the Lord. 
We give Thee but Thine own. 
Take my life and let it be. 

1 gave My life for thee. 



Morning Hymns 150-158 

Come, my soul, thou must be waking. 
Jesus, Sun of Righteousness. 
Awake, my soul, and with the sun. 
The morning bright. 

Evening Hhymns 159-168 

Softly now the light of day. 
Sun of my soul, Thou Saviour dear. 
Now hushed are woods and waters. 
Abide with me ! fast falls the eventide. 
Saviour, breathe an evening blessing. 

A Hymn of Petition and a Hymn of Trust 169-175 

Here behold me, as I cast me. 
A deep and holy awe. 
My faith looks up to Thee. 

Luther's Hymn Against the Turk and the Pope 176-179 

Lord, keep us steadfast in Thy word. 

The Battle-Hymn of Protestantism x8o-i86 

A Mighty Fortress is our God. 

Hymns on the Church 187-192 

Glorious things of thee are spoken. 

The Church's one foundation. 

I love Thy Zion, Lord. 

Zion stands with hills surrounded. 

O where are kings and empires now? 

Christian War Hymns 193-201 

Fear not, O little flock, the foe. 
When in the hour of utmost need. 
Onward, Christian soldiers. 

Hymns of Thanksgiving 202-207 

Now thank we all our God. 
Lord God, we worship Thee! 
Come, ye thankful people, come. 
Before the Lord we bow. 

PATiaoTic Hymns 208-215 

My country, 'tis of thee. 

God bless cnir native land ! 

Oh, say, can you sec by the dawn's early light. 

Mine eyes have seen the glory of the coming of the Lord. 



Hymns of Comfort 216-224 

My Jesus, as Thou wilt! 

Commit thou all thy griefs. 

If thou but suffer God to guide thee. 

I would not live alway; I ask not to stay. 

Hymns Concerning Death and Burial 225-231 

Asleep in Jesus! blessed sleep. 
Jesus Christ, my sure defence. 
A pilgrim and a stranger. 
Jerusalem, the golden. 

General Favorites 232-246 

Jesus, Lover of my soul. 
Rock of Ages, cleft for me. 
Nearer, my God, to Thee. 

The Te Deum, a Great International Anthem 247-252 

We praise Thee, O God! 

Index of First Lines 255 

Index of Persons 259 



The Announcement to the Shepherds Frontispiece 

The ANNUNaATioN 15 

Felix Mendelssohn 26 Doddridge 38 

Christ in the Temple 43 

Bishop Heber 51 

Hoffman's Gethsemane 67 

The Triumph.\l Entry 75 

CiL\RLES Wesley 95 

The Good Shepherd 98 

Christ Blessing Little Children 102 

Paul Gerhardt 119 

Phoebe Carey 135 

Bishop Ken 150 

Martin Luther 182 

John Newton 187 

GusTAvus Adolphus 19s 

Francis Scott Key 206 

Samuel Francis Smith 210 

William Augustus Muhlenberg 222 

Augustus M. Toplady 239 


The writing of these pages was an accident and a pleas- 
ure. An editorial emergency called forth the first article; 
our personal interest induced several others; then the in- 
terest of our readers requested the series. Favorable 
comments and the expressed desire of not a few to have 
the articles in permanent form explain the appearance of 
this volume. 

As a member of the committee which had charge of 
the preparation of the new Lutheran Common Service 
Book with Hymnal we were led to assemble a four foot 
shelf of books on Liturgies and Hymnology which vol- 
umes we have freely consulted. Grateful acknowledg- 
ment is here made to the many distinguished writers 
on hymnology whose interesting and valuable writings 
we have read and compared and assimilated. We trust 
that the work has been done in such a way as to give a 
new, fresh and interesting story of a number of the 
Favorite Hymns which are most widely loved and used. 

We hope that every reader of these pages will miss from 
the incomplete list of Favorite Hymns here treated some of 
the hymns he most dearly loves, and that his interest will 
be so aroused as to send him to the libraries to find the 
same pleasure we have found and which has been our 
personal profit. 

If the reader is as interested in the reading as we were 
in the writing then these chapters will have the fascination 



of fiction. We therefore send them forth in the firm 
belief that they will prove helpful in making many ap- 
preciative of the hymns they sing and able to draw 
more knowledge and worship out of the songs of the 

William Lee Hunton. 

Written in the Quadricentennial Jubilee 
Year of the Birth of Protestantism. 




Ol HOW shall I receive Thee, 
I How greet Thee, Lord, aright? 
AH nations long to see Thee, 
My Hope, my heart's dehght! 

kindle, Lord most holy, 
Thy lamp within my breast, 

To do in spirit lowly 

All that may please Thee best. 

Thy Zion palms is strewing, 

And branches fresh and fair; 
My heart, its powers renewing, 

An anthem shall prepare. 
My soul puts oflE her sadness 

Thy glories to proclaim; 
With all her strength and gladness 

She fain would serve Thy name. 

1 lay in fetters groaning, 
Thou comest to set me free! 

I stood, my shame bemoaning, 

Thou comest to honor me! 
A glory Thou dost give me, 

A treasure safe on high, 
That will not fail nor leave me 

As eajrthly riches fly. 


Love caused Thy incarnation, 

Love brought Thee down to me. 
Thy thirst for my salvation 

Procured my Hberty. 
O Love beyond all telling, 

That led Thee to embrace, 
In love all love excelling, 
Our lost and fallen race! 

Rejoice then, ye sad-hearted. 

Who sit in deepest gloom, 
Who mourn o'er joys departed, 

And tremble at your doom; 
He who alone can cheer you 

Is standing at the door; 
He brings His pity near you. 

And bids you weep no more. 

An Advent hymn which is greatly loved by all who 
appreciate the purpose and spirit of the Advent season; 
we find in these stanzas prayer, praise, theology, redemp- 
tion, Christian penitence. Christian joy. The heart is 
laid bare, so to speak, and the Christian who with heart, 
mind and voice sings this Advent hymn of prayer and 
praise must certainly be ready to welcome the Saviour when 
He comes. To this end our first thought in contemplating 
this hymn is to see the beauty, the expressiveness and the 
fitness of its thought as a hymn to begin the Advent season. 

Paul Gerhardt is the author of this hymn. He ranks 
with Luther as one of the most gifted and most popular 
hymn writers of the Christian Church. 

It will give us a higher appreciation of the hymn to 
know a little of the author. He was a German poet of a 
high order, one whom the German people loved and owned. 
He was a native of Saxony, his student life being passed 
during the time of the Thirty Years' War, at the close of 


which he became a pastor. It was while pastor at St. 
Nicholas' Church, Berlin, that be became known as a 
writer of hymns. He was held in high honor by the people 
of the city as an eloquent preacher and earnest pastor. 

In spite of this fact, because of his uncompromising 
stand for the Lutheran doctrine and all that it implied 
in teaching and in li\ing, he was, in 1666, deposed from his 
spiritual office. WTien told of it he said, "This is only a 
small Beriin affliction; but I am also willing and ready to 
seal vdth my blood the evangelical truth, and, like my 
namesake, St. Paul, to offer my neck to the sword." 

Reinstated, he again was superseded because his con- 
science would not let him compromise as he was expected 
to do. In the midst of these official trials he also was called 
upon to suffer family affliction, losing three children and 
his wife within a very short time. 

He later became pastor at Liibben and archdeacon. 
Under his picture in this church there was the inscription 
which seemed to indicate the detraction and unkindness 
which he experienced during the last seven years of his 
life- The inscription, which was in Latin, was, "A divine 
sifted in Satan's sieve." 

WTien we know this story, and that out of these experi- 
ences as the expression of his innermost soul some of his 
best hymns came, we shall then love more and understand 
better those hymns of his which it is our pri\dlege to have 
and to sing in our English churches. 

These facts give new meaning to the first, third and fifth 
stanzas. They become so personal that they will be of 
deeper significance to each and everyone who sings them. 

It has been well said of Gerhardt that he had a firm 
grasp of the objective realities of the Christian faith and 
that he manifested a loyal adherence to the doctrinal stand- 


point of the Lutheran Church. With it all he is genuinely 
human and takes a fresh and wholesome view of nature and 
of mankind. This emphasizes the teaching and content of 
the hymn. 

When we see the depth of soul and the fulness of mean- 
ing as well as the beauty of expression in a hymn such as 
this Advent hymn of Paul Gerhardt, what a rebuke it 
is to those who would use silly and superficial jingles and 
think they contain elements of worship. The advent of 
our Saviour is worthy of the best in poetry and music that 
can be found in our hymns. 

A very different type of hymn, but one which is especially 
appropriate for the opening of Advent and which is a 
general favorite is: 

On Jordan's banks the herald's cry 
Announces that the Lord is nigh; 
Come, then, and hearken, for he brings 
Glad tidings from the King of kings. 

This hymn, as we have it, was translated in 1837 by 
John Chandler from the Latin of the author, Charles 
Coflin. The original was written in 1736. Simple in 
statement of fact, confession and faith, it is a hymn- 
prayer, full of unction, which is the element which appeals 
to the heart in the Advent season. 

A hymn which looks for the second Advent of Christ 
and well worthy of its popularity is: 

Thou Judge of quick and dead, 

Before whose bar severe. 
With holy joy or guilty dread, 

We all shall soon appear; 
Our wakened souls prepare 

For that tremendous day. 
And fill us now with watchful care, 

And stir us up to pray. 


This hymn is from the pen of Charles Wesley, the **Bard 
of Methodism," who was a prolific writer of hymns, as is 
seen from the fact that of seven hundred and seventy 
hymns in the "Wesleyan Hymn Book" six hundred and 
twenty-three are from his pen. It is very evident that 
there cannot be as much variety as there is in the 
Lutheran books of worship, the hymns of which are 
drawn from many sources. The determining factor for 
the recognition and use of a hymn is the evangelical 
character and conformity to the high standard of poetic 
form and perfect harmony with the principles of faith 
and worship. 

The true joy of Advent is fittingly expressed in another 
grand hymn which has come from one of the bards of 
Germany, Laurentius Laurenti, who has been pronounced 
^'one of the best hymn writers of the Pietistic School." 
His hymns are, as a rule, founded on the gospels for the 
Sundays and festivals of the Church Year. They are 
simple, spiritual, full of unction and educational as well as 

Dr. Schaff pronounces his Advent hymn, which is a 
versified interpretation of the Parable of the Ten Virgins, 
his best hymn. The English translation which we use is 
from the pen of Miss Jane Borthwick. It is included in a 
book which she, with the assistance of her sister, published 
in 1854, the title of which is ''Hymns from the Land of 
Luther." Lauren ti's hymn is found in a number of the 
very best hymn books of the present day. It is evidence 
of the beauty and the richness of our purely evangelical 
hymns. The hymn is so beautiful that we quote it as it is 
now conmionly used: 



Rejoice, all ye believers, 

And let your lights appear! 
The evening is advancing, 

And darker night is near. 
The Bridegroom is arising, 

And soon He draweth nigh. 
Up! pray, and watch, and wrestle- 

At midnight comes the cry! 

The watchers on the mountain 

Proclaim the Bridgroom near; 
Go meet Him as He cometh. 

With heallelujahs clear. 
The marriage-feast is waiting, 

The gates wide open stand; 
Up, up, ye heirs of glory; 

The Bridegroom is at hand! 

Ye saints, who here in patience 
Your cross and sufferings bore, 

Shall live and reign for ever. 
When sorrow is no more. 

Around the throne of glory 
The Lamb ye shall behold. 

In triumph cast before Him 
Your diadems of gold! 

Our Hope and Expectation, 

O Jesus, now appear; 
Arise, Thou Sun so longed for. 

O'er this benighted sphere! 
With hearts and hands uplifted. 

We plead, O Lord, to see 
The day of earth's redemption, 

That brings us unto Thee! 



J^^ HE first song of the Christian era came from the 

V^ lips of the Virgin Mary. The greatest honor that 

j^SS8 could be bestowed upon a woman was hers, for 

she is the destined mother of the Messiah. The 

joy of her soul knows no bounds. Conscious of the 

wonderful thing which God hath done for her, and through 

her for the world, Mary breaks the stillness of the expectant 

hour with the strains of the Magnificat. 

Inspired, because of the wonderful thing which God 
hath done unto her, this humble maiden of Israel sings the 
first Christian song, in the quiet of the home of her kins- 
woman, Elizabeth, in the hill country of Judea. 

The circumstances under which this hymn was first 
sung, its theme, its spirit and its contents give to the 
Magnificat a precedence over all the other hymns of the 

Mrs. Charles has well said of this hymn: "The heart 
of Mary, like a sweet flower with its cup turned up to the 
morning sky, in its lowliness drank in the light and dew 
of heaven, and sent them back in fragrance; full of God 
and therefore full of joy. Yet her hymn is no angelic song, 
no thanksgiving of an unfallen spirit who looks on adoring 
at the great miracle of divine love. That human tone which 
gives its deepest music to the new song of heaven is not 
wanting in Mary's. She can say, 'My Saviour,' that she 
also may sing hereafter, 'Thou wast slain, and hast re- 
deemed us by Thy blood!' The Magnificat of the blessed 



Virgin is but another strain in the great song of redemp- 

If we compare the Magnificat with the song of Hannah, 
recorded in the first chapter of I Samuel, we will note 
enough similarity to warrant the view that Mary must 
have been familiar with this Old Testament song to which 
it bears a close resemblance. 

There have been a number of attempts to put the 
Magnificat into verse, but they are not popular, for the 
simple reason that nothing can surpass in beauty and 
stateliness the rhythmical prose of this chant as it came 
from the lips of Mary and is recorded in the New Testa- 
ment. We are fortunate in having this canticle occupy an 
important place in our services. It should be, in view of 
its origin and association as the first hymn of the Christian 
Church committed to memory in our youth. The song 
is so rich in thought, so beautiful in its origin and setting 
that, rightly understood, its frequent use wall necessarily 
deepen spiritual life and strengthen the devotion of the 


My soul doth magnify the Lord : and my spirit hath rejoiced 
in God my Saviour. 

For He hath regarded: the low estate of His handmaiden. 

For behold, from henceforth: all generations shall call me 

For He that is mighty hath done to me great things: and 
holy is His name. 

And His mercy is on them that fear Him: from generation 
to generation. 

He hath showed strength with His arm: He hath scattered 
the proud in the imagination of their hearts. 

He hath put down the mighty from their seats: and exalted 
them of low degree. 


He hath filled the hungry with good things: and the rich 
He hath sent empty away. 

He hath holpen His servant Israel, in remembrance of His 
mercy: as He spake to our fathers, to Abraham, and to his 
seed, for ever. 

Times of unusual experiences in the religious life, 
whether they are times of trial or of joy, have ever been 
fruitful in song. So it is that at the glad time of the com- 
ing of our Lord into the world song succeeds song. No 
sooner do the strains of the Magnificat die away than we 
hear the notes of another of our beautiful New Testament 
canticles, the song ofZacharias proclaiming the advent of 
John the Baptist, the forerunner of our Lord. 

A priest, as he was, and inspired of the Holy Ghost 
to prophecy, we have in the Benedictus, as it comes from 
the lips of Zacharias, a lyric which, like Mary's song, has 
passed into the permanent liturgy of the Church, and which 
is expressive of the devotion of every pious heart. 

Concerning this hymn, Edersheim says: ^'Strictly Hebrew 
in its cast, and closely following Old Testament prophecy, 
it is remarkable — and yet most natural — that this hymn 
of the priest closely follows, and, if the expression be 
allowable, spiritualizes a great part of the most ancient 
Jewish prayer, the so-called Eighteen Benedictions; rather, 
perhaps, that it transforms the expectancy of that prayer 
into praise of its realization. And if we bear in mind that 
a great portion of these prayers were said by the priests 
before the lot was cast for incensing, or by the people in 
the time of incensing, it almost seems as if during the long 
period of his enforced solitude the aged priest had meditated 
on, and learned to understand, what so often he had re- 

How beautifully these chants link the Old and the New 


Covenant in thought in the worship, even as He who was 
coming was fulfilhng the Old and establishing the New 
Covenant, that the two might be bound together in Him, 
the Center of time as well as of salvation. 


Blessed be the Lord God of Israel: for He hath visited and 
redeemed His people; 

And hath raised up a horn of salvation for us: in the house 
of His servant David; 

As He spake by the mouth of His holy prophets: which 
have been since the world began; 

That we should be saved from our enemies: and from the 
hand of all that hate us; 

To perform the mercy promised to our fathers: and to 
remember His holy covenant; 

The oath which He sware to our father Abraham: that He 
would grant unto us; 

That we, being delivered out of the hand of our enemies: 
might serve Him without fear. 

In holiness and righteousness before Him : all the days of our 

And thou, child, shaltbe called the prophet of the Highest : for 
thou shalt go before the face of the Lord to prepare His ways; 

To give knowledge of salvation unto His people: by the 
remission of their sins. 

Through the tender mercy of our God: whereby the Day- 
spring from on high hath visited us; 

To give light to them that sit in darkness and in the shadow 
of death : to guide our feet into the way of peace. 

And now as the Messiah of God, Emmanuel, Christ is 
born, it is the song of the angels that we hear. The day is 
dawning and fittingly the angels of heaven greet the com- 
ing morning of the day of redemption. ''Shepherds were 
in the field keeping watch over their flocks by night. And 
lo, the angel of the Lord came upon them, and the glory 


of the Lord shone round about them. And suddenly 
there was with the angel a multitude of the heavenly 
host, praising God and saying, 'Glory to God in the 
highest, and on earth peace, good will toward men.' " 

What a privilege to those humble shepherds to hear the 
angel band sing their ecstatic hymn on the plains of 
Bethlehem, announcing the grace of heaven to our sin- 
smitten earth! Well has it been called the "sweetest 
melody that ever echoed from the skies." 

The Gloria in Excelsis, as we now have it and use it in 
our public worship, is built up as from a foundation on this 
angel song, which, when first sung, had as its hearers the 
adoring shepherds, who were keeping their flocks on the 
plains of Bethlehem on the night when Jesus was born in 
the manger of the Nativity. 

The anthem, which fully expressed the joy of the angels 
at the Nativity, was inadequate to express the feelings of 
the Church that worshiped the Crucified. For this reason 
there was a gradual evolution of the Gloria in Excelsis, 
which, by the end of the fifth century, had been developed 
into a hymn which, wdth but slight variation, is used 
alike by Greek, Roman and Protestant believers all over 
the world. Its use confirms the creed in which we express 
our belief in the ''Communion of Saints." 

The seed of the song is the chant of the angels; the fruit 
of its fuller expression, the communion of the saints who 
worship the Triune God who have boldness and joy 
in their approach through the Christ of Bethlehem, the 
Saviour of the world. Henceforth we will sing the "angels' 
anthem" with better understanding and find in it an 
unusual medium of true communion with the angels and 
the saints in heaven as well as the universal brotherhood of 
believers on earth. 



Glory be to God on high, and on earth peace, good will 
toward men. We praise Thee, we bless Thee, we worship 
Thee, we glorify Thee, we give thanks to Thee for Thy great 
glory, Lord God, heavenly King, God the Father Almighty. 

O Lord, the Only-begotten Son, Jesus Christ; Lord God, 
Lamb of God, Son of the Father, that takest away the sin of 
the world, have mercy upon us. Thou that takest away the 
sin of the world, receive our prayer. Thou that sittest at the 
right hand of God the Father, have mercy upon us. 

For, Thou only art holy; Thou only art the Lord; Thou 
only, O Christ, with the Holy Ghost, art most high in the 
glory of God the Father. Amen. 

Closely associated with the birth of Christ is another 
most beautiful and tender hymn which comes to us out of 
the word of God, namely, Simeon's pathetic song, "The 
Nunc Dimittis." The circumstances of the origin of this 
canticle are most touching. Simeon was a devout man. 
He had waited and longed for the consolation of Israel. 
While in the temple it w^as his privilege to take the young 
Child in his arms. While he beheld the Christ-child, 
realizing that it was the long-hoped-for consolation of 
Israel, the pent-up emotions of his soul were poured forth 
in the words of that song which is found in our services 
and is particularly expressive of the feeling of the true 
Christian after receiving the body and the blood of Christ 
in the sacrament of the altar. Its origin and first use, the 
singer holding the Christ-child in his arms as he sang, 
should be kept in the view of the w^orshiper, who, as he 
joins with others in the singing of this New Testament 
canticle will have personal experience of the joy and 
benediction which were the lot of Simeon, its author, who 
sang his personal experience of salvation. 



Lord, now lettest Thou Thy servant depart in peace: ac- 
cording to Thy Word; 

For mine eyes have seen Thy salvation: which Thou hast 
prepared before the face of all people; 

A light to lighten the Gentiles: and the glory of Thy people 

What wonderful hymns these are which, coming from 
the very scenes and times of the Nativity, have passed 
down through the ages! Their beauty and their sweet- 
ness have not been diminished, w^hile their use has con- 
stantly been on the increase. 

As at the first, giving expression to the emotions of the 
human heart, the Magnificat, the Benedictus, the Nunc 
Dimittis, are sung today just as they came from the lips 
of the inspired singers. The song of the angels has been 
caught up by the saints of the Church, and with its lofty 
theme as the nucleus, there has been developed a noble 
song, a song which links angels with the common brother- 
hood of believers in proclaiming ''Glory to God in the 
highest, on earth peace, good will toward men." 

There is no doubt that these songs were sung in the 
apostolic and early Christian Church. They are sung to- 
day in all sections of the Church which would emphasize 
the scriptural and evangelical in Christian worship. It 
is an evidence of both the true apostolicity and catholicity 
of Christians for them to love and to use these New Testa- 
ment songs, which are so closely associated with the birth 
of Jesus the Saviour. 


OF the various elements of Christmas pleasure, none 
is more pure, real or uplifting than the privilege 

71^^^ of singing the old, familiar Christmas hymns 
which old and young alike love and which make us, once 
again, all children. There are great volumes of the hymns 
of Christmas. Some of them are unworthy of their place, 
but many of them are singing the old story and the true 
faith into many joyful hearts as "the happy Christmas 

comes once more." 

This singing for Christmas is an old custom which has 
heavenly example as its pattern and inspiration, for does 
not Montgomery tell us in a hymn which we delight to 

"Angels from the realms of glory, 
Wing your flight o'er all the earth; 
Ye who sang creation's story, 
Now proclaim Messiah's birth." 

It was this fact which gave Nahum Tate his inspi- 
ration and moved him to write in 1703, the wonderful 
story of that night on Bethlehem's plains in a hymn 
which has sent thousands singing joyfully to the Man- 
ger Cradle. Who is not familiar with the words which 
helped to win for him from King William III the title 
of poet laureate? We refer to that splendid Christmas 
hymn — 




While shepherds watched their flocks by night, 

All seated on the ground, 
The angel of the Lord came down, 

And glory shone around, 
"Fear not," said he, for mighty dread 

Had seized their troubled mind; 
"Glad tidings of great joy I bring 

To you and all mankind." 

"To you, in David's town, this day 

Is born, of David's line, 
A Saviour, who is Christ the Lord, 

And this shall be the sign: 
The heavenly babe you there shall find, 

To human view displayed. 
All meanly wrapt in swathing-bands. 

And in a manger laid." 

Thus spake the seraph, and forthwith 

Appeared a shining throng 
Of angels, praising God, who thus 

Addressed their joyful song: — 
"All glory be to God on high. 

And to the earth be peace: 
Good-will, henceforth, from heaven to men, 

Begin and never cease." 

Speaking of the angels and their song makes us think 
of Charles Wesley's hymn for Christmas day. He wrote 
it in 1735 and re\'ised it in 1743. It has found its way into 
many hymnals and has been so inseparably associated with 
Mendelssohn's melody which bears his name as to make 
it stand out as one of the greatest of the favorite hymns for 
the Christmas time. Beautiful as are the words, we can- 
not help feeling that the music of the great master, Mendels- 
sohn, has done much to sing into the hearts of multitudes 


of Christians the beautiful Christmas message of the great 
Methodist hymn writer. 

Wesley's hymn for Christmas day 

Hark! the herald-angels sing, 
"Glory to the new-born King; 
Peace on earth, and mercy mild, 
God and sinners reconciled!" 

Joyful, all ye nations, rise. 
Join the triumph of the skies; 
Universal Nature, say, 
Christ the Lord is born today! 

Christ, by highest heaven adored, 
Christ, the everlasting Lord: 
Late in time behold Him come, 
Offspring of a virgin's womb! 

Veiled in flesh, the Godhead see. 
Hail the incarnate Deity! 
Pleased as Man with men to appear, 
Jesus, our Immanuel, here! 

Hail, the heavenly Prince of Peace, 
Hail, the Sun of Righteousness! 
Light and Hfe to all He brings, 
Risen with heahng in His wings. 

Mild He lays His glory by, 
Born that man no more may die; 
Born to raise the sons of earth; 
Born to give them second birth. 

Come, Desire of nations, come, 
Fix in us Thy humble home; 
O, to all Thy self impart. 
Formed in each believing heart! 



Mendelssohn's ''Hymn of Trust" has helped to win a 
place for another familiar Christmas hymn among the 
great favorites. We refer to John Cawood's hynm — 

hark! what mean those holy voices 

Hark! what mean those holy voices 
Sweetly sounding through the skies? 

Lo! the angelic host rejoices; 
Heavenly hallelujahs rise. 

Listen to the wondrous story, 

Which they chant in hymns of joy: 

"Glory in the highest, glory! 
Glory be to God most high! 

"Peace on earth, good-will from heaven, 

Reaching far as man is found; 
Souls redeemed, and sins forgiven; 

Loud our golden harps shall sound. 

"Christ is born, the great Anointed; 

Heaven and earth His praises sing! 
O receive whom God appointed 

For your Prophet, Priest, and King. 

"Hasten, mortals, to adore Him; 

Learn His Name, and taste His joy; 
Till in Heaven ye sing before Him, 

Glory be to God most high!" 

Let us learn the wondrous story 

Of our great Redeemer's birth; 
Spread the brightness of His glory. 

Till it cover all the earth. 

Of the seventeen hymns written by Mr. Cawood, who 
was a man of limited education, this is his best and most 
widely known production. 


Hymns like these which we have just quoted prepare 
us to sing William Augustus Muhlenberg's valuable con- 
tribution to our Christmas collection of hymns. It is 
a hymn in which the echoing harmonies of heaven touch a 
responsive chord in our very souls. We feel the power in 
the words and the melody and are literally ready to shout 
when called to sing — 

Shout the glad tidings, exultingly sing, 
Jerusalem triumphs, Messiah is King! 

Muhlenberg's Christmas hymn 

Sion, the marvellous story be telling, 

The Son of the Highest, how lowly His birth! 

The brightest archangel in glory excelling. 

He stoops to redeem thee, He reigns upon earth: 

Chorus. — Shout the glad tidings, exultingly sing, 
Jerusalem triumphs, Messiah is King, 
Messiah is King, Messiah is King. 

Tell how He cometh; from nation to nation. 

The heart-cheering news let the earth echo round; 

How free to the faithful He offers salvation. 

How His people with joy everlasting are crowned. 

Mortals, your homage be gratefully bringing. 
And sweet let the gladsome hosanna arise; 

Ye angels, the full Alleluia be singing; 

One chorus resound through the earth and the skies. 

The text of this hymn has come to us unaltered from the 
pen of the author, who is the grandson of the Patriarch of 
the Lutheran Church in America, the Rev. Henry Melchior 
Muhlenberg, D. D. He bore a Lutheran name, but 
through attendance in English Sunday schools became 
an Episcopalian and carried his Lutheran spirit into that 



church, where he did a wonderful work in the development 
of hospital and other benevolent work in New York City. 

Martin Luther, who contributed much to the Reforma- 
tion cause through his hymns, which are known by every 
peasant in Germany, and for which in most instances he 
has furnished his ow^n melody, has given us one of the very 
best and most meaningful of our Christmas hymns. 

Luther's Christmas hymn 

Good news from heaven the angels bring, 
Glad tidings to the earth they sing: 
To us this day a Child is given, 
To crown us with the joy of heaven. 

This is the Christ, our God and Lord, 
Who in all need shall aid afford; 
He will Himself our Saviour be, 
From all our sins to set us free. 

To us that blessedness He brings, 
Which from the Father's bounty springs: 
That in the heavenly realm we may 
With Him enjoy eternal day. 

All hail! Thou noble Guest, this morn. 
Whose Love did not the sinner scorn: 
In my distress Thou comest to me; 
What thanks shall I return to Thee? 

Were earth a thousand times as fair. 
Beset with gold and jewels rare, 
She yet were far too poor to be 
A narrow cradle, Lord, for Thee. 

Ah, dearest Jesus, holy Child, 

Make Thee a bed, soft, undefiled, 

Within my heart, that it may be 

A quiet chamber kept for Thee. ' '. 


Praise God upon His heavenly throne, 
Who gave to us His only Son: 
For this His hosts, on joyful wing, 
A blest New Year of mercy sing. 

The original of this carol, we are told, Luther wrote for 
his little son Hans when he was only five years old. It is 
still sung at daybreak on Christmas morning by singers 
standing in the dome of the "Kreuz Kirche" in Dresden. 
Luther wrote it in 1535. The translation which is in most 
common use is by Miss Winkworth. The music bears the 
date of 1539 and has come down to us with the words as 
one of the glad notes of the Christmas time. 

Luther has given us another Christmas hymn — at least 
it is commonly attributed to him — the ''Cradle Hymn," 
which is a marvellously sweet lullaby. This hymn is very 
short; but it is very dear to the little ones, who without 
exception soon learn to sing and to love it. 


Away in a manger, no crib for His bed. 

The little Lord Jesus laid down His sweet head; 

The stars in the sky looked down where He lay — 
The little Lord Jesus, asleep on the hay. 

The cattle are lowing, the Baby awakes. 
But little Lord Jesus, no crying He makes; 

I love Thee, Lord Jesus. Look down from the sky, 
And stay by my cradle till morning is nigh. 

The above is distinctly a "cradle hymn." It is so simple, 
so evangelical and so beautiful that even if the critics 
cannot agree as to its authorship, we certainly are unan- 
imous as to its use. 

The eminent Episcopalian, Phillips Brooks, has made a 


valuable addition to our collection of Christmas hymns in 
his — 


O little town of Bethlehem 

How still we see thee lie; 
Above thy deep and dreamless sleep 

The silent stars go by; 
Yet in thy darkness shineth 

The everlasting Light; 
The hopes and fears of all the years 

Are met in thee tonight. 

For Christ is born of Mary, 

And gathered all above, 
While mortals sleep, the angels keep 

Their watch of wondering love. 
O morning stars, together 

Proclaim the holy birth! 
And praises sing to God our Kling, 

And peace to men on earth. 

How silently, how silently. 

The wondrous gift is given! 
So God imparts to human hearts 

The blessings of His heaven. 
No ear may hear His coming, 

But in this world of sin, 
Where meek souls will receive Him still, 

The dear Christ enters in. 

O holy Child of Bethlehem! 

Descend to us, we pray; 
Cast out our sin, and enter in, 

Be born in us today. 
We hear the Christmas angels, 

The great glad tidings tell : 
O come to us, abide with us, 

Our Lord Emmanuel! 

The hymn was written in 1868. It is both a tribute and 


a prayer. Its poetical merit and devotional character 
make it worthy of the high favor in which it stands. 

Another American clergyman has furnished us with a 
classic Christmas hymn. We refer to the hymn by the Rev. 
Edwin Hamilton Searles, which, in spite of the fact that its 
author was a Unitarian clergyman, yet is a hymn in which 
there is a very joyful note for the child of faith. Written 
in i860, Mr. Searle's words stir the imagination and bring 
to the ear and eye of the singer most wonderful scenes and 
harmonies of heaven. 

A unitarian's CHRISTMAS HYMN 

It came upon the midnight clear, 

That glorious song of old, 
From angels bending near the earth, 

To touch their harps of gold: 
"Peace on the earth, good-will to men 

From heaven's all-gracious King"; 
The world in solemn stillness lay 

To hear the angels sing. 

Still through the cloven skies they come, 

With peaceful wings unfurled; 
And still their heavenly music floats 

O'er all the weary world. 
Above its sad and lowly plains 

They bend on hovering wing, 
And ever o'er its Babel sounds 

The blessed angels sing. 

O ye, beneath life's crushing load. 

Whose forms are bending low, 
Who toil along the climbing way 

With painful steps and slow! 
Look now, for glad and golden hours 

Come swiftly on the wing; 
O rest beside the weary road. 

And hear the angels sing. 


For lol the days are hastening on, 

By prophets seen of old, 
When with the ever-circling years, 

Shall come the time foretold. 
When the new heaven and earth shall own 

The Prince of Peace their King, 
And the whole world send back the song 

Which now the angels sing. Amen. 

Add to the above his earlier Christmas hymn, written in 
1834, namely, 

"Calm on the Hstening ear of night," 

and we have two hymns which give to Mr. Searles a high 
and deserved place among the great American hymn 
writers. In speaking of "It came upon the midnight 
clear," Dr. Duffield says: "It is absolutely wedded to its 
appropriate tune." WTiat a mistake so many make when 
they give new" and unfamiliar times for old standard hymns ! 
On the other hand, there are times when old standard tunes 
are \'iolently torn from their proper words and con- 
nected with mere doggerel. To do either is to hinder wor- 
ship and is like defaming a sacred shrine. 

The Christmas hymns are almost without number, and 
our readers may add indefinitely. We must, however, tell 
the story of one other hymn of which many have precious 
memories of singing it in a darkened church or home 
while watching the lighting of the Christmas tree, which 
found its present beautiful place and use during the 
time of the great Protestant Reformation. The hymn, 
which was written by Joseph Mohr in 181 8, is the well 
known — 



Silent night! Holy night! 

All is calm, all is bright, 
Round yon Virgin Mother and child! 
Holy Infant, so tender and mild, 

II : Sleep in heavenly peace:|| 

Silent night! Holy night! 
Shepherds quake at the sight! 
Glories stream from Heaven afar, 
Heavenly hosts sing Alleluia, 

II : Christ, the Saviour, is born! : || 

Silent night! Holy night! 
Son of God, love's pure light 
Radiant beams from Thy holy Face, 
With the dawn of redeeming grace, 
II : Jesus, Lord, at Thy birth. : || 

The story of the origin of this hymn is beautiful. It 
was a clear, starry Christmas Eve. Everything was 
joyful and festive save in the home of Joseph Mohr, 
where there was great sorrow, for on that day the wife and 
mother had gone to celebrate Christmas in heaven. All 
was sadness. Mr. Mohr sat with bowed head. Going to 
a window he looked out upon the snow-clad nature, while 
in an adjoining room he could see his little motherless 
children quietly sleeping. A sigh came to his lips as he 
thought of the Christmas without the mother. Just then 
he heard merry voices singing the very songs he and his 
wife and the children were wont to sing. The thought 
rushed in upon him that she was singing them and blending 
her voice with the angels. Musing thus, he was impressed 
with the quiet beauty of the night. He turned quickly, 
sat down and in a few moments penned his now famous 


"Stille Nacht." As soon as it was written he handed it 
to his organist who was keeping vigil with him, a Mr. 
Gruber, and with a choking voice said, "Go, friend, make 
music to this and bring it to me." He went into the church 
and sat at the organ. In the morning he called together 
his choir and rehearsed the melody, which floated out from 
the church choir loft on that Christmas day for the first 

Made in the night, it seemed to the congregation, as it 
should seem to us, as if the angels themselves had infused 
their own spirit into writer, composer and singers. This 
beautiful song is simg wherever Christmas is kept in the 
good old way. It is seldom that it does not bring to the 
hearts of those who listen a measure of the same feeling 
which Gruber's choir awoke in the good people of old 
Salzburg that Christmas morning so long ago. 




EW YEAR'S DAY is the "Octave of Christmas." 
It is the day of the circumcision and the naming 
of the child Jesus. In the Christian year this 
fact dominates the day. Hence it is that Keble 
emphasizes this thought in his hymn, in which the cir- 
cumcision of Christ is the figure under which the course of 
human Ufe is pictured. 

In thinking of the name of Jesus one of the first hymns 
which comes to mind is that of John Newton, of which the 
two opening lines are: 

"How sweet the name of Jesus sounds 
In a believer's ear." 

This tribute to the name of Jesus will be given added 
significance in our use of it when we know that the author 
in his early life was very wild, and cursed and blasphemed 
in the most shocking manner. He followed the sea and 
literally swore like a sailor, was captured by slave dealers, 
became a slave dealer himself, and, after a narrow escape 
from shipwreck, came to his senses, confessed his sins, and, 
when thirty-nine years of age, was ordained a clergyman of 
the Church of England. Knowing these facts, we will 
value the tribute to the name of Jesus, probably para- 
phrased from an old Latin hymn of St. Bernard, but made 
to express the inner conviction of a truly converted sailor. 

Bishop How has paid high tribute to the name of Jesus 
in one of the several hymns which he has contributed to 



the common hymnology of the Evangelical Church. 
This hymn, which was written in 1854, has as its opening 


Jesus! Name of wondrous love! 
Name all other names above! 
Name at which must every knee 
Bow in deep humility. 

A hymn which has not yet found its way into the church 
hymnals, but which is loved by nearly all young people, and 
by some older ones too, comes from the pen of an American 
poet, the late George W. Bethune. It is a tribute to the 
name and work of Jesus, which, with its appropriate 
melody "Barnby," is most pleasing in thought as wtII as 
in its rhythm and music. The hymn is written in four-line 
stanzas with a chorus, the first verse and chorus being: 

There is no name so sweet on earth 

No name so dear in heaven, 
As that before His wondrous birth 

To Christ the Saviour given. 


We love to sing around our King, 

And hail Him blessed Jesus! 
For there's no word ear ever heard 

So dear, so sweet as Jesus! 

Turning to the day as marking the opening of the year, 
a most appropriate religious sentiment is found in that 
hymn from the pen of Isaac Watts, which is a versification 
of the ninetieth psalm. The sentiment is divine, the 
versification so well done that the hymn must live and grow 
in favor as Christians add experience and years to their 
earthly lives. 


watt's ninetieth psalm 

Our God, our Help in ages past, 
Our Hope for years to come; 

Our Shelter from the stormy blast, 
And our eternal Home. 

Under the shadow of Thy throne 
Thy saints have dwelt secure; 

SuflScient is Thine arm alone. 
And our defence is sure. 

Before the hills in order stood, 
Or earth received her frame. 

From everlasting Thou art God, 
To endless years the same. 

Thy word commands our flesh to dust: 
''Return, ye sons of men"; 

All nations rose from earth at first, 
And turn to earth again. 

Time, like an ever-rolling stream. 

Bears all its sons away; 
They fly forgotten, as a dream 

Dies at the opening day. 

Like flowery fields the nations stand. 
Pleased with the morning Hght : 

The flowers beneath the mower's hand 
Lie withering ere 'tis night. 

Our God, our Help in ages past, 
Our Hope for years to come. 

Be Thou our Guard while troubles last, 
And our eternal Home. 

The Rev. Philip Doddridge, D.D., a clergyman of the 
Church of England, has furnished two hymns which are in 


favor and especially appropriate at the opening of the 
New Year. The one hymn is distincti^'ely a hymn for 
the new year. It is expressive of gratitude for past guid- 
ance, for divine blessing and protection, and a prayer for 
God's mercy and help as well as an expression of implicit 
trust. As a New Year sentiment we quote it in full: 

DR. Doddridge's new year hymn 

"Great God! we sing that mighty Hand, 
By which supported still we stand: 
The opening year Thy mercy shows; 
Let mercy crown it, till it close. 

"By day, by night, at home, abroad, 
Still we are guarded by our God, 
By His incessant bounty fed, 
By His unerring counsel led. 

"With grateful hearts the past we own; 
The future, all to us unknown, 
We to Thy guardian care commit. 
And, peaceful, leave before Thy feet. 

"In scenes exalted or depressed. 
Be Thou our joy, and Thou our rest; 
Thy goodness all our hopes shall raise. 
Adored through all our changing days. 

"When death shall interrupt our songs. 
And seal in silence mortal tongues, 
Our Helper, God, in whom we trust. 
In better worlds our souls shall boast." 

Another hymn, also by Dr. Doddridge, appropriate to 
the season, which is \irtually a prayer to God to guide 
and protect and continue to bless with the bounties of His 
hand, is a hymn of pro\ddence appropriate at any season. 


It is a hymn which is especially cheering and faith-inspiring 
when in trial or trouble of any kind. Our appreciation of 
it will be increased by knowing that it was a favorite hymn 
of Livingstone, the explorer. He declares that it often 
cheered him in his African wanderings. It was sung at his 
funeral as his body was being laid to rest in the famous 
Westminster Abbey. The hymn is popular because it 
most beautifully and forcefully speaks the religious expe- 
rience of a rugged race. 


"O God of Jacob, by whose hand 
Thy people still are fed; 
Who, through this weary pilgrimage, 
Hast all our fathers led! 

"To Thee our humble vows we raise, 
To Thee address our prayer; 
And in Thy kind and faithful breast 
Deposit all our care. 

"Through each perplexing path of life 
Our wandering footsteps guide; 
Give us by day our daily bread. 
And raiment fit provide. 

"O spread Thy covering wings around, 
Till all our wanderings cease; 
And at our Father's loved abode 
Our souls arrive in peace. 

"To Thee, as to our covenant God, 
We'll our whole selves resign; 
And thankful own, that all we are. 
And all we have, is Thine." 

Frances Ridley Havergal has given us a most ap- 



propriate prayer for the opening year. Written in 1874, 
it is becoming well known and is already in extensive use. 
Miss Havergal's ^v^itings were published under the title, 
"Poetical Works of Miss Havergal," in two volumes in 
1884. They have found place among meritorious poetry. 

MISS havxrcal's new year prayer 

''Another year is dawning, 
Dear Master, let it be, 
In working or in waiting. 
Another year with Thee. 

"Another year of mercies, 
Of faithfulness and grace; 
Another year of gladness 
In the shining of Thy face. 

"Another year of progress, 
Another year of praise. 
Another year of pro\ing 
Thy presence all the days. 

"Another year of ser\'ice. 
Or witness for Thy love; 
Another year of training 
For hoHer works above. 

"Another year is dawning, 
Dear Master, let it be. 
On earth or else in heaven. 
Another year for Thee!" 

The brevity of life and the approach of the Christian 
toward heaven are proper themes for the new year. A 
standard hymn expressive of this thought is from the 
pen of the author of "Hymns of Faith and Hope," which 
have demonstrated their title to many a godly saint on 


this earth. We refer to that hymn written by Dr. Horatius 
Bonar in 1842, or forty years before his death, the title of 
which is: 


"A few more years shall roll, 

A few more seasons come, 
And we shall be with those that rest, 

Asleep within the tomb: 

Then, O my Lord, prepare 

My soul for that great day; 
O wash me in Thy precious Blood, 

And take my sins away! 

"A few more storms shall beat 

On this wild, rocky shore, 
And we shall be where tempests cease, 

And surges swell no more. 

A few more struggles here, 

A few more partings o'er, 
A few more toils, a few more tears, 

And we shall weep no more. 

"'Tis but a httle while 

And He shall come again. 
Who died that we might live, who lives 

That we with Him may reign: 

Then, O my Lord, prepare 

My soul for that glad day; 
O wash me in Thy precious Blood, 

And take my sins away!" 

Out of three thousand lines of a satire written by Bernard, 
a monk of Cluny, in the twelfth century, Dr. John Mason 
Neale has drawn three hymns which he has translated and 
which have become very popular. It is significant of the 
difference between the centuries that the twelfth century 
satirist is overwhelmed by the awe of heaven and the horror 


of hell, while the nineteenth century singer has so adapted 

his verses as to make them sing exultantly of heaven alone. 

It is the evangelical minister as contrasted with the 

austere monk. Of these hymns we note that which is 

appropriate as a new year selection, of which the first 

verse is : 

''Brief life is here our portion: 
Brief sorrow, short-lived care; 
The Life that knows no ending, 

The tearless Life, is there. 
happy retribution! 

Short toil, eternal rest, 
For mortals and for sinners 
A mansion with the blest!" 

It is left to a woman to give us the hymn which we 
mention as especially expressive of the thought of the 
Christian on New Year's Day. Phoebe Gary has expressed 
the hfe, the faith, and the hope of the true Christian most 
beautifully in her hymn, which has found its way into 
many books and into multitudes of human hearts. She, 
with her sister, has contributed largely to America's ad- 
dition to sacred lyrics. A critic has pointed to the 
one by Phoebe, to which we have just referred, as 
especially beautiful, and which we quote under "H^ums 
of the Christian Life," namely, her hymn of which 
the first verse is: 

"One sweetly solemn thought 
Comes to me o'er and o'er — 
I am nearer home today 

Than I have ever been before." 

John Newton, whose hymn on the name of Jesus 
introduced the churchly side of the day, has given us 


also a representative New Year hymn which is partic- 
ularly solemn and fitting when used on the last evening 
of the year or on New Year's Eve. This hymn, when 
sung to that most appropriate tune given to it in Sam- 
uel Webbe's "Benevento," is most wonderfully impress- 
ive. We refer to the hymn of which the first stanza is: 

''While with ceaseless course the sun 

Hasted through the former year, 
Many souls their race have run, 

Never more to meet us here; 
Fixed in an eternal state, 

They have done with all below, 
We a little longer wait, 

But how little, none can know." 

In striking contrast with this is Charles Wesley's 
hymn, which has been styled a voice at the next year's 
threshold, and which inspires the singer to anticipate 
Hfe and plan for the future. We quote the first stanza: 

"Come, let us anew our journey pursue, 

Roll round with the year 
And never stand still till the Master appear. 
His adorable will let us gladly fulfil 

And our talents improve 
By the patience of hope and the labor of love.'* 













0Pn*HANY, one of the oldest of the Christian fes- 
tivals, is the generally accepted festival today for 
^^ commemorating the manifesting of Christ to the 
three Wise Men of the East. As these Wise Men 
were Gentiles and heathen, the festival and the season 
have more and more come to be recognized among us as 
the time when Christian people lay to heart the extending 
of the knowledge of the newborn Saviour to the heathen 

The festival of the Epiphany itself always falls on Janu- 
ary 6th, which is the twelfth day after Christmas. It origin- 
ally was the festival of the Nativity, and was looked upon 
as the feast of the manifestation of Christ to man, which 
took place at His baptism and not at His birth, the nativity 
originally being observed only as an introduction to His 

When we know these facts we will readily understand 
the beautiful blending of the Christmas and the missionary 
idea in some of the most appropriate hymns of the Epiph- 

A hymn which very naturally comes to mind when we 
think of this festival is the product of the pen of a layman, 
William Chatterton Dix, a man trained for mercantile 
life and who held a position in a marine insurance office at 
the time when he wrote several hymns which rank high 
among modern examples of hymnody. He wrote his 
Epiphany hymn in i860. We quote three stanzas, the 
remaining being a prayer for guidance and light from Christ 



A layman's epiphany hymn 
As with gladness men of old 
Did the guiding star behold; 
As with joy they hailed its light, 
Leading onward, beaming bright; 
So, most gracious God, may we 
Evermore be led by Thee. 

As with joyful steps they sped 
To that lowly manger-bed, 
There to bend the knee before 
Him w^hom heaven and earth adore; 
So may we, with wiUing feet, 
Ever seek Thy mercy-seat. 

As they offered gifts most rare 
At that manger rude and bare; 
So may we, with holy joy. 
Pure and free from sin's alloy. 
All our costliest treasures bring, 
Christ, to Thee, our heavenly King. 

The beauty of the Church Year is that it provides for 
the presentation of every phase of the life and the teachings 
of Christ. Bishop Wordsw^orth, w^ho, like Luther, looked 
upon hymns as a valuable means of stamping permanently 
upon the memory the great doctrines of the Christian 
Church, has beautifully demonstrated the truth of these 
facts in a book of hymns called "The Holy Year." An ex- 
cellent illustration of the fitness and the instructive 
character of such hymns is his hymn in which he recapitu- 
lates the themes of the Epiphany season and shows how 
these are preparatory to that future great and glorious 
Epiphany of Christ when He shall be manifested to all as 
the Judge of the world. A careful reading of the verses of 
this hymn will illustrate the educational value of it. 


BISHOP Wordsworth's epiphany hymn 

Songs of thankfulness and praise, 
Jesus, Lord, to Thee we raise, 
Manifested by the star 
To the sages from afar; 
Branch of Royal David's stem, 
In Thy birth at Bethlehem; 
Anthems be to Thee addrest, 
God in man made manifest. 

Manifest at Jordan's stream. 
Prophet, Priest and King supreme; 
And at Cana, wedding-guest, 
In Thy Godhead manifest; 
Manifest in power divine, 
Changing water into wine; 
Anthems be to Thee addrest, 
God in man made manifest. 

Manifest in making whole 
Palsied limbs and fainting soul; 
Manifest in valiant fight. 
Queuing all the devil's might; 
Manifest in gracious will. 
Ever bringing good from ill ; 
Anthems be to Thee addrest, 
God in man made manifest. 

Grant us grace to see Thee, Lord, 
Present in Thy holy word; 
May we imitate Thee now. 
And be pure, as pure art Thou; 
That we like to Thee may be. 
At Thy great Epiphany; 
And may praise Thee, ever blest, 
God in man made manifest. 

Bishop Heber in 181 1 wrote a hymn v/hich, although 
criticised as to its words as well as its melody, has attained 


great favor among many Christian people. We refer to 
that hymn which is full of imagery and expressive of 
liveliest devotion, namely; 

"Brightest and best of the sons of the morning, 
Dawn on our darkness and lend us Thine aid; 
Star of the east, the horizon adorning, 

Guide where our infant Redeemer is laid." 

A fine illustration of the combination of the Epiphany 
fact with the principle of personal consecration is seen in 
that Epiphany hymn from the German, which was written 
by Johann Franck in A. D. 1669. The hymn is based on 
the account of the presentation in the temple, as recorded 
in the second chapter of St. Luke. Critics have pronounced 
this "the finest hymn on the subject of the Epiphany." 


Light of the Gentile nations, 

Thy people's joy and love! 
Drawn by Thy Spirit hither, 

We gladly come to prove 
Thy presence in Thy temple, 

And wait with earnest mind, 
As Simeon once had waited 

His Saviour God to find. 

Yes, Lord, Thy servants meet Thee, 

Even now, in every place 
Where Thy true word hath promised 

That they should see thy face. 
Thou yet wilt gently grant us. 

Who gather round Thee here, 
In faith's strong arms to bear Thee, 

As once that aged seer, 


Be Thou our Joy, our Brightness, 

That shines 'mid pain and loss, 
Our Sun in times of terror, 

The glory round our cross; 
A glow in sinking spirits, 

A sunbeam in distress, 
Physician, Friend in sickness, 

In death our happiness. 

Let us, O Lord, be faithful 

With Simeon to the end. 
That so his dying song may 

From all our hearts ascend: 
"O Lord, let now Thy servant 

Depart in peace for aye. 
Since I have seen my Saviour, 

Have here beheld His day." 

My Saviour, I behold Thee 

Now with the eye of faith, 
No foe of Thee can rob me, 

Though bitter words he saith. 
Within Thy heart abiding. 

As Thou dost dwell in me, 
No pain, no death hath terrors 

To part my soul from Thee! 

It is interesting to note, since we have read this hymn 
and observed its devotional spirit and beauty of thought, 
that its author, like the writer of "As with gladness men of 
old," was a layman. Johann Franck was a lawyer at 
Guben, Brandenburg, Germany. He was a student at the 
University of Koenigsburg during the time of the Thirty 
Years' War. His religious spirit and his devotion to his 
mother prevented him from sharing in the excesses of his 
fellow-students, and were responsible for his return to his 
home, where he held places of trust and usefulness among 


his fellow-citizens. He was a man of unfeigned and firm 
faith and personal piety, characteristics which are re- 
flected in his hymns. He held such high place among his 
fellow-to\ATismen that on the occasion of the bicentennial 
of his death, June i8, 1877, the people of Guben thought 
him worthy of a memorial tablet, which was given a place 
of honor on the outer wall of the Stadtkirche of Guben. 
He is an illustration to our boys that to refrain from indulg- 
ing in college excesses is not a hindrance to future dis- 
tinguished usefulness. He is also, as a pious and success- 
ful lawyer who has contributed materially to the permanent 
hymnology of the Church, a man worthy to be kept in the 
minds of all Christian laymen. We do well to think of 
the man whose words we sing when we sing, "Herr Jesu, 
Licht der Heiden." 


OINE of our best missionaty hymns was written over 
I night. It came as an inspiration from a soul afire 
^ with the missionary spirit. The story of its 
origin is most interesting, and illustrates well 
how a true hymn breathes the soul of the singer. The 
hymn to which we refer is so universally popular that 
a missionary service toda}^ if it is not sung, seems incom- 
plete. The hymn, which was wTitten by Bishop Heber, 
in 1 819, is such a general favorite that few active Christians 
do not have its lines committed to memor>^ Yet we quote 
it in its fulness for the missionary message which it carries 
^^ith it. 


From Greenland's icy mountains. 

From India's coral strand; 
Where Afric's sunny fountains 

Roll down their golden sand; 
From many an ancient river, 

From many a palmy plain. 
They call us to deliver 

Their land from error's chain. 

What though the spicy breezes 

Blow soft o'er Ceylon's isle; 
Though every prospect pleases, 

And only man is vile; 
In vain with lavish kindness 

The gifts of God are strewn; 
The heathen, in his blindness, 

Bows down to wood and stone. 


Shall we whose souls are lighted 

With wisdom from on high, 
Shall we to men benighted 

The lamp of life deny? 
Salvation, O salvation! 

The joyful sound proclaim, 
Till each remotest nation 

Has learned Messiah's name. 

Waft, waft, ye winds, His story, 

And you, ye waters, roll. 
Till, like a sea of glory, 

It spreads from pole to pole; 
Till o'er our ransomed nature 

The Lamb for sinners slain, 
Redeemer, King, Creator, 

In bliss returns to reign. 

The hymn grew out of a great missionary occasion. 
A royal letter had been written authorizing missionary 
services and collections in every church and chapel in 
England for furthering the missionary work of the Society 
for Propagating the Gospel. Reginald Heber, who was 
born April 21, 1783, was a young clergyman of the Church 
of England at the time. While a student he had shown 
poetic talent sufficient to gain special recognition from Sir 
Walter Scott. 

Young Heber was the son-in-law of Dr. Shipley, dean of 
St. Asaph and vicar of Wrexham. He had gone to Wrex- 
ham to participate in the Whitsunday missionary service. 
It was the evening preceding, and in the course of the 
preparations for the morning service the vicar of the church 
in Wrexham asked his son-in-law, then rector of the church 
at Hodnet, if he could not prepare something to be sung at 
the morning service. 

Heber retired to a quiet corner of the house. Shortly, 



in response to the inquiry, "What have you written?" 
he read the first three verses of the hymn, substantially 
as we have them today. 

The dean appreciatively said, "There, there, that will 
do very well." ''No, no, the sense is not complete," was 
Heber's reply. He accordingly added the fourth stanza, 
and the hymn was ready for use. It was sung the fol- 
lowing morning in the Wrexham church in the first of 
the thousands of missionary serAdces in which it has 
helped to inspire missionary interest and kindle mission- 
ary fires. 

It was not, however, sung to the tune to which it is now 
always sung, and which tune has become a part of the 
hymn itself. The story of the origin of this tune is like- 
wise of special interest. A woman who was very much 
interested in missions and living in Savannah, Ga., ac- 
cording to the story, secured a copy of Heber's hymn, but 
was not pleased with the music to which the words were 
set. She felt the missionary power and beauty of the 
words and a burning desire to have a more fitting tune to 
which to sing it came over her. She knew of a young 
bank clerk, who lived but a few doors from her home, who 
was counted a genius in music. She hastened to him and in 
half an hour Lowell Mason returned the words to her set 
to the music according to which everyone now sings this 
"master missionary hymn of the Church." Of this tune 
it has been said, "Like the words it voices, it was done at 
a stroke, but it will last through the ages." 

The language, as well as the sentiment of the hymn, 
is beautiful. It has been said of it that "Every line, 
indeed, is as polished and refined as it can be. It is the 
art of the jeweler in the precious gems of language." 

To know the main facts of the life story of the writer 


will increase our appreciation of the hymn itself. Pre- 
cocious as a boy, he was distinguished as a student. He 
early manifested interest in missions, an e\'idence of which 
was the great hymn which he wrote about two years after 
his ordination. 

His soul glowed with missionary fire. Hence he wel- 
comed a call to be Bishop of Calcutta, for it realized a 
purpose which had been for some time stirring in his heart, 
namxcly, to be a missionary. Thus it became his privilege 
to breathe ''the spicy breezes" that "blow soft o'er Cey- 
lon's isle," and that actually carry the fragrance of the 
aromatic forests far out to sea. 

He occupied his position as Bishop of India for only 
three years, when he fell as a martyr to the missionary 
cause. A tablet in a church in Ceylon describes his faith- 
ful work in India. His hymn is instilling the missionary 
spirit into multitudes of missionary assemblies and in- 
scribing his memory indelibly upon the hearts of all true 
Christians who have a genuine love for missions. 

Another hymn by Bishop Heber, written in 1827, 
deserves mention. We refer to that hymn which is such 
a strong call to Christian service. Under the imagery of 
war, to gain a kingly crown, the Son of God is the leader 
of the missionary train. The first line of this hymn is: 

"The Son of God goes forth to war.'* 

A very popular missionary hymn, which probably stands 
second only to Bishop Heber's hymn, is the one based on 
the Seventy-second Psalm, which was paraphrased into a 
hymn originally of eight stanzas by Isaac Watts. One of 
the most popular of his hymns, it was published in the 
Psalms of David in 1819: 


watts' missionary hymn 

Jesus shall reign where'er the sun 
Does his successive journeys run; 
His kindgom stretch from shore to shore, 
Till moons shall wax and wane no more. 

For Him shall endless prayer be made, 
And endless praises crown His head; 
His name, like sweet perfume, shall rise 
With every morning sacrifice. 

People and realms of every tongue 
Dwell on His love with sweetest song; 
And infant voices shall proclaim 
Their early blessings on His name. 

Blessings abound wher'er He reigns; 
The prisoner leaps to lose his chains; 
The weary find eternal rest. 
And all the sons of want are blest. 

Where He displays His healing povrer 
Death and the curse are known no more; 
In Him the tribes of Adam boast 
More blessings than their father lost. 

Let every creature rise and bring 
Peculiar honors to our King; 
Angels descend with songs again, 
And earth repeat the loud Amen. 

It will add to our appreciation of the missionary char- 
acter of this hymn to know that on a certain missionary 
occasion it was used most impressively in the South Sea 
Isles. King George, the ruler of the islands, gave his people 
a new constitution and exchanged the heathen for a Chris- 
tian form of government. Under great spreading banyan 
trees the natives from Tongo, Fiji and Samoa gathered. 
It was Whitsunday, 1862. The people had assembled for 


worship. With them sat King George. Around the king 
were his old chiefs and warriors w^ho had shared with him 
the rigors and dangers of many a battle. All were rejoicing 
in the new Christian spirit, and were radiant with Christian 
love, peace and hope. 

The service began that Pentecostal morning with Watts' 

"Jesus shall reign where'er the sun." 

As they sang they felt the power of the word of God 
as paraphrased into song, Jesus' reign was transforming 
them. How completely His sway is felt when men come 
from the worship of idols to the service of the living God! 
That is the thought which is uppermost in this hymn, 
which, by reason of that fact, is a truly great missionary 

A true missionary hymn which, when sung to its proper 
tune will stir an audience, and is peculiarly adapted for 
use at the opening of a missionary meeting or service, was 
written and pubUshed anonymously. We refer to the 
hymn written about 1 813, by John Marriott, the son of a 
rector of the Church of England. An analysis of this 
hymn will show its emphasis of the Holy Trinity and stress 
the invocation of the help and blessing of the Triune God 
on all missionary endeavor. 


Thou, whose almighty word 
Chaos and darkness heard. 

And took their flight; 
Hear us, we humbly pray; 
And where the gospel day 
Sheds not its glorious ray. 

Let there be light! 


Thou, who didst come to bring, 
On Thy redeeming wing, 

HeaUng and sight. 
Health to the sick in mind, 
Sight to the inly bhnd, 
O, now to all mankind, 
Let there be light! 

Spirit of truth and love, 
Life-giving, holy Dove, 

Speed forth Thy flight; 
Move on the water's face. 
Bearing the lamp of 'grace, 
And in earth's darkest place 

Let there be Hghtl 

Holy and blessed Three, 
Glorious Trinity, 

Wisdom, Love, Might! 
Boundless as ocean's tide, 
RolKng in fullest pride. 
Through the earth, far and wide, 

Let there be light! 

The author was a very brilliant but a very modest man. 
This fact accounts for the first publishing of the hymn 
without any indication of the authorship. Mr. Marriott 
was the second of two who took honors at Oxford in 1802, 
the first year that examinations for honors were given at 
that insitution. He wrote a number of hymns, but, on 
account of his modesty, he never published them in book 
form, and no one else has attempted to gather them into a 
volume. This hymn alone will permanently preserv^e his 
name in the list of those who through their hymns have 
rendered eminent service to the Church of God among men. 

Bishop Arthur Cleveland Coxe is the author of what we 
might call a missionary prayer. We quote his hymn, which 
has come into extensive use and is a general favorite. 



Saviour, sprinkle many nations, 

Fruitful let Thy sorrows be! 
By Thy pains and consolations 

Dra-w the Gentiles unto Thee! 
Of Thy cross the wondrous story 

Be it to the nations told; 
Let them see Thee in Thy glory, 

And Thy mercy manifold! 

Far and wide, though all unknowing, 

Pants for Thee each mortal breast: 
Human tears for Thee are flowing. 

Human hearts in Thee would rest. 
Thirsting as for dews of even, 

As the new-mown grass for rain, 
Thee they seek, as God of heaven, 

Thee as Man, for sinners slain. 

Saviour! lo, the isles are waiting. 

Stretched the hand and strained the sight, 
For Thy Spirit new-creating, 

Love's pure flame, and wisdom's light. 
Give the word, and of the preacher 

Speed the foot, and touch the tongue, 
Till on earth, by every creature, 

Glory to the Lamb be sung. 

We are told that Bishop Coxe began this hymn on Good 
Friday, 1850, but that he did not complete it until 1851. 
It was first published in connection with the third jubilee 
of the Society for the Propagation of the Gospel. It is 
based on Isaiah 52 : 15. Modestly Bishop Coxe kept his 
hymns out of the hymnals of his own Church, but their 
merit has placed some of them, especially this truly mis- 
sionary hymn, in nearly every other Christian hymnal in 


[E of the most beautiful and devotional of all the 
psalms is the one hundred and thirtieth. It is 
so expressive of the mind of the penitent sinner 
that it rightly finds place in our services of confes- 
sion or of humiliation. With the words of this psalm as 
the Bibical background Luther has given to us one of his 
best hymns, and one which is especially beautiful as an 
expression of the mind and heart of the penitent sinner. 

It has been well said of Luther that he is the "Ambrose 
of German hymnody." This is high but deserved praise. 
His hymns are characterized by simplicity and strength 
and have a popular churchly tone in the true sense of that 
word churchly. Julian says: "They breathe the bold, 
confident, joyful spirit of justifying faith, which was the 
beating heart of his theology and piety." A striking illustra- 
tion of this is found in his hymn of penitence, which is a 
versification of the thought of the psalmist, namely, 
"Aus tiefer Noth schrei ich zu Dir^ 

Luther began the writing of hymns in 1523, and as this 
hymn bears the date of 1524 it is therefore among the earlier 
of his contributions to the rich storehouse of Evangelical 
hymnody. His hymns were the product of his environ- 
ment and the expression of his strong faith in the presence 
of trial. A careful reading of the text of this hymn, while 
it is strictly penitential, shows lines strikingly expressive 
of faith and trust. There are several translations of the 
vigorous German of this hymn into very excellent English. 



The translation which is probably most familiar and which 
is most widely used is that of Miss Winkworth, which we 
here give. It will prove excellent devotional reading. 

Luther's 130TH psalm 

Out of the depths I cry to Thee, 

Lord, hear me, I implore Thee! 
Bend down Thy gracious ear to me, 

Let my prayer come before Thee! 
If Thou remember each misdeed. 
If each should have its rightful meed, 

Who may abide Thy presence? 

Our pardon is Thy gift ; Thy Love 

And grace alone avail us. 
Our works could ne'er our guilt remove, 

The strictest life must fail us. 
That none may boast himself of aught. 
But own in fear Thy grace hath wrought 

What in him seemeth righteous. 

And thus my hope is in the Lord, 

And not in mine own merit: 
I rest upon His faithful word 

To them of contrite spirit. 
That He is merciful and just — 
Here is my comfort and my trust. 

His help I wait with patience. 

And though it tarry till the night. 

And round till morning waken, 
My heart shall ne'er mistrust Thy might. 

Nor count itself forsaken. 
Do thus, O ye of Israel's seed. 
Ye of the Spirit born indeed, 

Wait for your God's appearing. 


Though great our sins and sore our woes, 

His grace much more aboundeth; 
His helping love no limit knows, 

Our utmost need it soundeth. 
Our kind and faithful Shepherd, He, 
Who shall at last set Israel free 

From all their sin and sorrow. 

A hymn of penitence, which is in its every line a con- 
fession and w^hich is one of several which have found favor 
with the editors of hymn books, is the hymn which was 
written by John Taylor in 1795. The author was a 
Unitarian, who for some years was a banker, after which 
be became a manufacturer. 

unitarian's hymn of penitence and confession 

God of mercy! God of grace! 

Hear our sad repentant songs. 
O restore Thy suppliant race, 

Thou to Whom our praise belongs! 

Deep regret for follies past, 
Talents wasted, time misspent; 

Hearts debased by worldly cares, 
Thankless for the blessings lent: 

Foolish fears and fond desires, 
Vain regrets for things as vain: 

Lips too seldom taught to praise, 
Oft to murmur and complain; 

These, and every secret fault, 

Filled with grief and shame, we own. 

Humbled at Thy feet we lie, 

Seeking pardon from Thy throne. 

Isaac Watts, that prolific writer of English hymns, has 
contributed a most helpful penitential hynrn, which bears 


the date of 17 19. The sentiment of this hymn is rather an 
assumption of sin and a realization of God's knowledge of 
it, and therefore a penitential petition for forgiveness. 

watts' prayer for forgiveness 

Show pity, Lord; O Lord! forgive; 
Let a repenting rebel live. 
Are not Thy mercies large and free? 
May not a sinner trust in Thee? 

Great God, Thy Nature hath no bound, 
So let Thy pardoning Love be found. 

wash my soul from every sin, 

And make my guilty conscience clean! 

My lips with shame my sins confess 
Against Thy law, against Thy grace: 
Lord, should Thy judgment grow severe, 

1 am condemned, but Thou art clear. 

Yet save a trembling sinner. Lord, 
Whose hope, still hovering round Thy word, 
Would light on some sweet promise there, 
Some sure support against despair. 

This hymn is a versification of the fifty-first psalm. 
In this psalm David prays for the remission of sins, 
making deep confession. It was after he had been guilty 
of specially heinous sin. It is, therefore, a psalm which is 
always appropriate in times of humiliation or at services 
of confession. The psalms, as we know, were the first 
hymn book. They still, in their scriptural form, are 
chanted in the churches. In their proper rendering we have 
the privilege of most beautiful and expressive worship. 
Some of the best of our hymns are versifications of these 
old biblical chants of the sanctuary. Of these, Luther and 


Watts have given us two of the best in their respective 
renditions of the 130th and 51st psalms. 

True penitence leads to boldness of faith in approaching 
the throne of grace. We close our present study, therefore, 
with the touching story of the origin of a hymn which we all 
love to sing. 

Miss Charlotte Elliott, when a young woman, was a 
lover of dancing. She was preparing to attend an annual 
ball and was on her way to the dressmaker to have her 
dress made for the occasion when she met her pastor. He 
was a very earnest and conscientious man and spoke 
earnestly with her concerning the ball. She became greatly 
vexed and told her pastor, "I wish you would mind your 
own business." 

She attended the dance and was very popular. The 
dance lasted until almost daylight. In spite of the flatter- 
ing words that she heard and the attention she received 
all through the night of gayety, her conscience troubled 
her because of her conversation with her pastor. When 
she reached home her conscience had made her feel 
wretched. She could not sleep. She had always admired 
and loved her pastor as a cherished friend, and her rudeness 
in saying what she did worried her. 

After some days she went to see him, confessed her feel- 
ings, and said, 'Tor these days I have been the most 
wretched girl in the world, and now, oh, that I were a 
Christian! I want to be a Christian! What must I do?" 

Her old pastor talked earnestly to her and said to her, 
"Just give yourself, my child, to the Lamb of God, just as 
you are." 

That expression in the counsel of her pastor caught hold 
of her mind and heart. Her story of her experience is that 
as she prayed for courage to give herself to Jesus just as she 


was, the thought came like an inspiration, and she wrote 
the hymn which has brought confidence and cheer to many 
a penitent but believing heart. 

Miss Elliott had no thought of fame when she wrote. 
She did not even think of whether any other person might 
care to make use of her words. She merely put her own 
heart on paper. The hymn was born of a personal expe- 
rience. Because of this fact it appeals to other hearts, 
which, like Miss Elliott's, need the cleansing power of the 
blood of the Lamb. 

MISS Elliott's "just as i am" 

Just as I am, without one plea 
But that Thy Blood was shed for me, 
And that Thou bidst me come to Thee, 
O Lamb of God, I come, I come! 

Just as I am, and waiting not 

To rid my soul of one dark blot, 

To Thee, whose Blood can cleanse each spot, 

O Lamb of God, I come, I come! 

Just as I am, though tossed about 
With many a conflict, many a doubt. 
Fightings and fears within, without, 
O Lamb of God, I come, I come! 

Just as I am, poor, wretched, blind; 
Sight, riches, healing of the mind. 
Yea, all I need, in Thee to find, 
O Lamb of God, I come, I come! 

Just as I am; Thou wilt receive, 
Wilt welcome, pardon, cleanse, relieve, 
Because Thy promise I believe; 
O Lamb of God, I come, I come! 


Just as I am; Thy Love unknown 
Has broken every barrier down; 
Now to be Thine, yea, Thine alone, 
O Lamb of God, I come, I come! 

Miss Elliott wrote about a hundred and fifty hymns, of 
which the finest and most widely known is the one we have 
just quoted. 


Yp<|YMNS form a most important part of our worship. 
JLx| They mold character and often shape the Hves 
Wi of those who sing them. For these reasons hymns 
should never be chosen carelessly, but always 
with respect to the occasion and the sentiment. 

"Alas! and did my Saviour bleed, 
And did my Sovereign die?" 

is a very beautiful and appropriate Good Friday hymn 
which came as a most discordant note to our ears im- 
mediately following the sermon at a Harvest Festival. 
It had no meaning there. 

Our worship will mean much more to us when we have 
learned to appreciate the hymns we sing. When we 
appreciate them, know their history, peculiar character 
and inner meaning, we will use them appropriately. 
When thus used we will enter into their spirit and they will 
add harmony and meaning to the worship of the day. 

There is unusual force to the hymns of Lent which in 
themselves furnish a rich field of study. An interpretation 
of a few will we trust send our readers to the sources that 
they may make a general study of the hymns which sing 
into our lives the facts and the spirit of the season which 
inspires the Christian to take up the cross and follow after 
Christ. One of the grandest of the Lenten hymns is from 
the pen of Isaac Watts. 



watts' survey of the cross 

When I survey the wondrous Cross 
On which the Prince of glory died, 

My richest gain I count but loss, 
And pour contempt on all my pride. 

Forbid it, Lord, that I should boast, 
Save in the death of Christ, my God; 

All the vain things that charm me most, 
I sacrifice them to His Blood. 

See, from His head, His hands, His feet, 
Sorrow and love flow mingled down! 

Did e'er such love and sorrow meet. 
Or thorns compose so rich a crown? 

Were the whole realm of nature mine, 
That were a tribute far too small; 

Love so amazing, so divine, 

Demands my soul, my Kfe, my all. 

This h>Tnn is placed by very competent critics among 
the four hymns w^hich stand at the head of hymns in the 
English language. Grand as it is, we know little concerning 
its origin. Like many of the hymns of Isaac Watts, little 
is known beyond the date of publication, which is given as 
1709. The hymn is a classic in its language, in its thought 
and in its spirit. The faith w^hich it should inspire is the 
kind which will sustain and carry through life. 

Isaac Watts, the author, was born at Southampton, 
England, July 17, 1764. He was offered a university 
education if he w^ould become a minister of the Church of 
England, but he declined, preferring to become a ''Dis- 
senter." He preached his first sermon when he was 
twenty-four years of age. He became a distinguished 
writer, most of his writings being classics which have found 


an honored place in the permanent Uterature of the 
English language. Among his best hymns we must note 
his great missionary hymn — 

"Jesus shall reign where'er the sun," 

and his beautiful rendition of the 98th Psalm, without the 
singing of which there would be something lacking from 
the observance of Christm^as, namely — 

"Joy to the world, the Lord is come!" 

Then there is his invocation of the Holy Spirit — 
"Come, Holy Spirit, heavenly Dove," 

which is a standard hymn of invocation and a universal 


Hail, Thou once despised Jesus! 

Hail, Thou Galilean King! 
Thou didst suffer to release us; 

Thou didst free salvation bring. 
Hail, Thou agonizing Saviour, 

Bearer of our sin and shame! 
By Thy merits we find favor; 

Life is given through Thy Name. 

Paschal Lamb, by God appointed, 

All our sins on Thee were laid; 
By almighty Love anointed. 

Thou hast full Atonement made. 
All Thy people are forgiven 

Through the virtue of Thy Blood: 
Opened is the gate of heven; 

Peace is made 'twixt man and God. 

"Not My will, hut Thine be done. 


Jesus, hail, enthroned in glory, 

There for ever to abide! 
All the heavenly hosts adore Thee, 

Seated at Thy Father's side: 
There for sinners Thou art pleading, 

There Thou dost our place prepare, 
Ever for us interceding, 

Till in glory we appear. 

Worship, honor, power, and blessing, 

Thou art worthy to receive; 
Loudest praises, without ceasing, 

Meet it is for us to give. 
Help, ye bright angeHc spirits, 

Bring your sweetest, noblest lays, 
Help to sing our Saviour's merits, 

Help to chant Immanuel's praise. 

This hymn is very widely used. It is probably the most 
popular hymn from the pen of John Blakewell. It was 
published in 1760. While particularly appropriate during 
the Lenten season, this hymn beautifully summarizes both 
the humiliation and the exaltation, the passion and the 
triumph of Jesus. Hence it finds a place in many a service 
of praise as well as of passion, serving to lift the worshiper 
who sings it up to a sympathetic as well as a believing 
approach to Christ. 

The author, John Blakewell, was bom at Brailsford, 
Derbyshire, England, in 1721. Through the reading of a 
book when he was eighteen years of age his mind was 
directed into religious channels. He became an ardent 
evangelist, preaching his first sermon in 1744. While in 
London he became acquainted with the Wesleys and be- 
came actively associated with them in their evangelistic 
work. For a time he conducted a school at Greenwich. 
This school was known as the Royal Park Academy. 


He died at the advanced age of ninety-eight years, March, 
1819. While best known by his hymn quoted above, he 
was the author of several others, which are quite popular, 

"Paschal Lamb by God appointed," 

''Jesus, Hail! enthroned in glory," 

One of the grandest hymns of the church for use in the 
Lenten season is from the pen of Bernard of Clair vaux. 


sacred Head, now wounded, 

With grief and shame weighed down, 
Now scornfully surrounded 

With thorns. Thy only crown! 
O sacred Head, what glory, 

What bliss, till now, was Thine! 
Yet, though despised and gory, 

I joy to call Thee mine. 

How art Thou pale with anguish, 

With sore abuse and scorn! 
How does that visage languish, 

Which once was bright as morn! 
What Thou, my Lord, hast suffered. 

Was all for sinners' gain; 
Mine, mine was the transgression, 

But Thine the deadly pain. 

Lo, here I fall, my Saviour! 

'Tis I deserve Thy place! 
Look on me with Thy favor, 

Vouchsafe to me Thy grace. 
Receive me, my Redeemer: 

My Shepherd, make me Thine! 
Of every good the Fountain, ' 

Thou art the Spring of mine! 


What language shall I borrow 

To thank Thee, dearest Friend, 
For this Thy dying sorrow, 

Thy pity without end! 
O make me Thine for ever. 

And should I fainting be, 
Lord, let me never, never, 

Outlive my love to Thee. 

Forbid that I should leave Thee; 

O Jesus, leave not me; 
In faith may I receive Thee, 

When death shall set me free. 
W^hen strength and comfort languish, 

And I must hence depart. 
Release me then from anguish 

By Thine own wounded heart. 

The beauty of this hymn is that it enters into deepest 
sympathy with Christ in His passion and at the same 
time breathes strong personal faith in the atonement. We 
owe a great debt of gratitude for this hymn to St. Bernard 
of Clairvaux, whose Latin original we consider his master- 
piece. A rich and beautiful German rendering of this 
hymn is from the pen of that great Lutheran hymn 
writer, Paul Gerhardt, whose, ''O Haupt voll Blut und 
Wunden" is found in practically all good German hymn 

The best English translation of this hymn is by James 
W. Alexander, an American Presbyterian clergyman. 
He made his transaction in 1830. 

Dr. Schaff, the greatest of American Presbyterian 
theologians, in speaking of this old hymn of the church 
says: ''This classic hymn has shown in three tongues — 
Latin, German and English — and in three confessions — 
Roman, Lutheran and Reformed — with equal effect the 


dying love of our Saviour and our limitless indebtedness to 


Go to dark Gethsemane, 

Ye that feel the tempter's power: 

Your Redeemer's conflict see; 
Watch with Him one bitter hour; 

Turn not from His griefs away; 

Learn of Jesus Christ to pray. 

Follow to the judgment-hall, 

View the Lord of life arraigned; 
O the wormwood and the gall! 

O the pangs His soul sustained! 
Shun not suffering, shame, or loss; 
Learn of Him to bear the cross. 

Calvary's mournful mountain climb: 

There, adoring at His feet, 
Mark that miracle of time, 

God's own sacrifice complete: 
"It is finished," hear Him cry: 
Learn of Jesus Christ to die. 

Early hasten to the tomb. 

Where they laid His breathless day; 

All is solitude and gloom: 
Who hath taken Him away? 

Christ is risen! — He meets our eyes: 

Saviour, teach us so to rise. 

This is a hymn which is pre-eminently a hymn for the 
penitent sinner who is led to Christ and follows Him in His 
sufferings and on to His resurrection triumph. It is a 
hymn which makes the man who sings it feel the passion 
and realize the death and triumph of Christ. It is so very 
realistic that it does not appeal to those whose religion is 


merely sentiment; it is, however, a source of comfort 
and strength to the man who reaUzes sin and what the 
Saviour suffered that sin might be atoned for. 

There are two texts of this hymn. They are both by the 
same author, James Montgomery, and stand side by side, 
some preferring the one version, and some the other. It 
first appeared in 1820, the second version appearing in 
1825. The author was the son of a Moravian minister. 
He was born in Irvine, Ayrshire, England, November 4, 
177 1. He died at Sheffield April 30, 1854. When he 
was but six years old he was sent to a Moravian school. 
He tells how the first Moravian Easter service at this 
school impressed him. This service, ending in the 
cemetery, was like the wind sweeping over an air harp, 
making wild and mysterious music in his soul. These 
childhood impressions find expression in all probability 
in his later life in this 'Toem of Passion and Victory." 
He has added some very rich treasures to the hymns of 
the Church; but this is the one contribution which he has 
made to our favorites for the Lenten season. 


Glory be to Jesus, 

Who, in bitter pains. 
Poured for me the life-blood 

From His sacred veins! 

Grace and life eternal 

In that Blood I find; 
Blest be His compassion, 

Infinitely kind! 

Blest through endless ages 

Be the precious stream, 
Which from endless torments 

Did the world redeem! 


Abel's blood for vengeance 

Pleaded to the skies: 
But the Blood of Jesus 

For our pardon cries! 

Oft as earth exulting 

Wafts its praise on high, 
Angel hosts rejoicing 

Make their glad reply. 

Lift we then our voices, 

Swell the mighty flood; 
Louder still, and louder 

Praise the precious Blood! 

This hymn is so beautiful in sentiment and, when sung 
to its proper melody, so sweet that it appeals to both 
young and old. A child four years old caught the melody 
and remembered the words of this beautiful hymn and 
sang it at her play. She loved it. The incident is a 
strong rebuke to those who say that little children will 
not like or sing solemn or the oft times called ''heavy" 
hymns and music. They will love and sing that which 
they are taught. We thus have the opportunity, by teach- 
ing them the good standard hymns of the Church and 
those hymns which reflect the teachings and life of 
the Church, to implant and cultivate a true faith and 

Beautiful as this little hymn is, the author of it is un- 
known. Neither can it be stated with certainty when it 
was written. It was originally written in Latin and is by 
some Italian writer. It is sometimes credited, but with 
little authority, to St. Alfonso. It is generally regarded as 
being a hymn of the eighteenth century. 


The well-known Faber has made a translation of this 
hymn, to which he has added a note: *'To all the faithful 
who say or sing the above hymn, Pius VII (1800-1823) 
grants an indulgence of one hundred days; applicable also 
to the souls in purgatory." We attribute no such merit to 
the singing of this beautiful Uttle hymn, but delight to 
use it in the popular translation which was made in 1857 
by E. Caswell. 

Strange as it may seem, the author of one of our most 
beautiful Lenten hymns, one which especially extols 
the cross of Christ, was a Unitarian. We refer to *'In the 
cross of Christ I glory." The author. Sir John Bowring, 
was a member of the British Parliament, a radical in 
politics, but a man of strong character, possessed of 
quaHties which made him a favorite. He was quite a 
linguist. Because of this fact and of his mterest in 
politics he became British consul at Hong Kong, China. 
While holding this position he visited Macao, on the coast 
of South China. Here Vasco De Gama had built a great 
cathedral on the crest of a hill, with a splendid approach 
of stone steps. A violent sea typhoon, however, had 
destroyed it; but, strange to say, although the cathedral 
fell, the front wall remained standing, defying wind and 
storm. On its very top there is a large bronze cross 
standing clear cut against the sky, defying rain and 
lightning and typhoon. It is a striking sight, beholding 
which. Sir John Bowring was inspired to write the grand 
hymn which multitudes have loved to sing. 

Certainly this hymn will have more significance to us 
since we know the circumstances which inspired it. That 
mighty cross, surmounting the ruins and reaching out as 
it were into the very blue of the heavens, is before us 
as we sing it. 



In the Cross of Christ I glory, 
Towering o'er the wrecks of time; 

All the Ught of sacred story- 
Gathers round its head sublime. 

When the woes of life o'er take me, 
Hopes deceive and fears annoy, 

Never shall the Cross forsake me; 
Lo! it glows with peace and joy. 

When the sun of bliss is beaming 
Light and love upon my way, 

From the Cross the radiance streaming 
Adds new lustre to the day. 

Bane and blessing, pain and pleasure, 
By the Cross are sanctified; 

Peace is there that knows no measure, 
Joys that through all time abide. 







J^:^ HERE are volumes of sermons in the songs we sing. 
^^ In the choosing, therefore, of the hymns v/e use 
SS88 we should give special thought both to theme and 
melody. If we fail to do this we will do violence 
to the spirit of the h^nnn and rob it of its special meaning. 
To illustrate, in a ser\ice of thanksgiving, immediately fol- 
lowing a sermon on the blessings of the harvest, to sing 
"Alas! and did my Saviour bleed," as was done on a 
certain occasion, is to do violence to the sermon, the oc- 
casion and to good common sense. 

In the choice of hymns attention must not only be given 
to the selection of a tune which will jingle pleasingly on the 
ear. If the song is to reach and touch the heart, as it 
should, due attention must be given to the times and 
seasons, as well as to the words and melody. When all 
blend in perfect harmony the hymn becomes a vital part 
of the worship of the day. It will often bring out, impress 
and send home the lessons of the sermon. For these 
reasons the most beautiful hymn may be entirely out of 
place, as was Watts' "Good Friday Hymn" in a service of 

Giving special thought to the time as well as the theme, 
certain hymns have become closely identified with certain 
festival days. Thus when Palm Sunday comes and the 
children approach the altar to ratify their baptismal vows 
and give their hearts to Jesus in the beautiful confirmation 
service, and when we realize that the day is the first of the 



"week of woe" for the suffering Saviour, we logically think 
of that special Palm Sunday hymn, "Gloria, Laus, et 
Honor,'' by Theodulph of Orleans. The wording as well 
as the origin of this hymn make it peculiarly a hymn for 
the day. To know the story of this hymn is to find much 
more in its beautiful lines and to get much more edification 
and worship out of it than otherwise would be possible. 


All glory, praise, and honor 

To Thee, Redeemer King; 
To whom the lips of children 

Made sweet hosannas ring. 

Thou art the King of Israel, 

Thou David's royal Son, 
Who in the Lord's name comest, 

The King, the blessed One! 

The company of angels 

Are praising Thee on high, 
And mortal men, and all things 

Created, make reply. 

The people of the Hebrews 

With palms before Thee went; 
Our praise and prayer and anthems 

Before Thee we present. 

To Thee before Thy passion 

They sang their hymns of praise, 

To Thee, now high exalted. 
Our melody we raise. 

Thou didst accept their praises; 

Accept the prayers we bring, 
Who in all good delightest, 

Thou good and gracious King! 


The author, Theodulph of Orleans, was born in Italy in 
the eighth century. He was Abbot of a Benedictine mon- 
astery in Florence, but on the invitation of Charlemagne 
removed to France, where, about 785 A. D., he became 
Bishop of Orleans. After the death of Charlemagne he 
continued for some time on friendly terms with the 
Emperor Louis, but falling under suspicion of being impli- 
cated in a plot in favor of Bernard of Italy, he was im- 
prisoned at Angers. The story is that while thus im- 
prisoned the emperor was in the procession on Palm Sunday 
morning. This procession on its way to the church passed 
the prison where Theodulph was. As the procession passed 
his window he sang the words of this hymn, ^^Gloria^ LauSj 
et Honor." The singing is said to have reached the ear 
of the emperor, touched his heart and secured the liberty 
of the singer. 

The hymns of Theodulph were the best of the age in 
which he lived. Certainly his "Palm Sunday Hymn," 
which has been preserved for us through the centuries 
and furnished to us in these latter days in a most excellent 
English translation by John Mason Neale, is full of 
scriptural truth and so vivid in its imagery as to make 
it most edifying and helpful as a part of a Palm Sunday 

Another hymn which has been written especially for 
Palm Sunday and which seems out of place at any other 
time is, 

milm.\n's ride on, ride on in majesty 

Ride on, ride on in majesty! 

In lowly pomp ride on to die! 

O Christ, Thy triumphs now begin 

O'er captive death and conquered sin. 


Ride on, ride on in majesty! 
The angel armies of the sky- 
Look down with sad and wondering eyes, 
To see the approaching Sacrifice. 

Ride on, ride on in majesty! 
Thy last and fiercest strife is nigh: 
The Father on His sapphire throne 
Expects His own anointed Son. 

Ride on, ride on in majesty! 

In lowly pomp ride on to die! 

Bow Thy meek head to mortal pain, 

Then take, O God, Thy power, and reign. 

The imagery of this hymn is so true to the scriptural 
facts of the triumphal entry and the tragic events of Holy 
Week that when it is sung to its proper tune we can almost 
see the hosts entering Jerusalem and follow with the eye 
the weary march to Calvary as we sing. 

The author of this hymn was Henry Hart Milman, the 
youngest son of an English court physician. He was born 
February lo, 1791. He gave promise of being a poet of 
note and contributed thirteen hymns to the collection of 
Bishop Heber. He turned, however, to general literary 
work and became an historical and theological writer of 
note. As an illustration of pure devotion we know of 
nothing that is superior to that hymn of his which begins: 

"Oh, help us. Lord! each hour of need 
Thy heavenly succor give; 
Help us in thought and word and deed, 
Each hour on earth we live!" 

* A hymn which the children love to sing and which is 
missionary in its note as well as Palm Sunday in its imagery 
is in extensive use today. We might call it 



When His salvation bringing, 

To Zion Jesus came, 
The children all stood singing 

Hosanna to His name. 
Nor did their zeal offend Him, 

But as He rode along, 
He let them still attend Him, 

And smiled to hear their song. 

And since the Lord retaineth 

His love for children still, 
Though now as King He reigneth 

On Zion's heavenly hill; 
We'll flock around His banner, 

Who sits upon the throne, 
And cry aloud, "Hosanna 

To David's royal Son!" 

For should we fail proclaiming 

Our great Redeemer's praise, 
The stones, our silence shaming, 

Might well hosanna raise. 
But shall we only render 

The tribute of our words? 
No; while our hearts are tender, 

They, too, shall be the Lord's. 

While the hymn is loved and extensively used, there 
seems to be great difficulty in determining the facts of its 
authorship. It is credited to a young curate of Welling- 
ton, Shropshire, whose name was Joshua King. Some 
would change the Joshua to John. It was first published 
in London in 1830 in a selection of hymns called "Gwyther's 
Psalmist." Even if we know little of the origin or the 


author, we sing it because of its fitness and beauty, and 
find in it special inspiration. 

A Hymn with which to Begin Holy Week 

Dr. John Mason Neale, who was a prolific translator of 
hymns, has furnished us a short but very appropriate 
hymn, which is especially fitting to be sung on Palm Sunday 
evening. The circumstances of its composition are not 
given, but the lines themselves are so expressive that they 
have found and will retain a place in evangelical hynmody. 
We quote 


O Thou, who through this holy week 

Didst suffer for us all; 
The sick to cure, the lost to seek, 

To raise them up that fall; 

We cannot understand the woe 

Thy love was pleased to bear; 
O Lamb of God, we only know 

That all our hopes are there! 

Thy feet the path of suffering trod; 

Thy hand the victory won; 
What shall we render to our God 

For all that He hath done? 

The one day of triumph for Jesus, the day of His 
triumphal entry into Jerusalem, necessarily makes us think 
of that hymn which Dr. Duffield declares " has become 
the English Te Deum," sharing with Bishop Ken's doxology 
the spontaneous approval of all Christian hearts. We may 
well call it 



All hail the power of Jesus' name! 

Let angels prostrate fall; 
Bring forth the royal diadem, 

And crown Him Lord of all. 

Ye chosen seed of Israel's race, 

Ye ransomed from the fall, 
Hail Him who saves you by His grace, 

And crown Him Lord of all. 

Hail Him, ye heirs of David's line, 

Whom David Lord did call; 
The God incarnate, Man divine; 

And crown Him Lord of all. 

Ye Gentile sinners, ne'er forget 

The wormwood and the gall; 
Go, spread your trophies at His feet, 

And crown Him Lord of all. 

Let every kindred, every tribe. 

On this terrestrial ball, 
To Him all majesty ascribe. 

And crown Him Lord of all. 

Oh, that with yonder sacred throng 

We at His feet may fall; 
We'll join the everlasting song, 

And crown Him Lord of all. 

The author of this hymn, the Rev. Edward Perronet, 
was descended from French refugees. He was what is 
known £ls a dissenting preacher, who, for a time, was an 
intimate associate of the Wesleys. Like Mrs. Adams, the 
author of "Nearer, My God, to Thee," he wrote many 
hymns; but, like Mrs. Adams, he wrote only one really 


great hymn. Of this hymn it has been said, ''That one 
hymn was enough; the man did not Hve in vain who 
taught Christ's Church her grandest coronation hymn in 
honor of her King." 

This hymn was written in 1779 and published in The 
Gospel Magazine in 1780. In England it is usually sung 
to the tune of "Miles Lane," but in America it is nearly 
always sung to the tune of ''Coronation." This tune was 
composed by a carpenter by the name of Oliver Holden. 
It is a soul-stirring tune, which, associated with Perronet's 
stirring words, will certainly preserve the carpenter's name 
to future generations. 

There is a striking incident from the mission fields in 
India which illustrates the power of this hymn in the 
presenting of Christ in His unique position as man's 
Redeemer. A missionary, the Rev. E. P. Scott, having 
learned of an inland tribe which had never heard the gospel 
and that it was exceedingly dangerous to go among them 
because of a murderous spirit and propensity, felt, never- 
theless, that because he had learned of them God wanted 
him to take the gospel to them. He took his satchel and 
a violin, and, bidding farewell to his friends, who said it 
was simply madness, he set out. After journeying for 
some days suddenly he came upon a large company of 
these savage people. They surrounded him and had their 
spears pointed at his heart. Praying for aid, he drew 
forth his violin, played and sang, "All Hail the Power of 
Jesus' Name." He shut his eyes through fear, expecting 
at every note to have the spears hurled at him and the 
song be brought to a sudden and cruel end. As he sang, 
"Let every kindred, every tribe," he took courage to open 
his eyes and look. To his surprise, the spears were lowered 
and the savages were all attention, some of them even 


having tears in their eyes. He stayed there and established 
a mission. When he left for a needed furlough on account 
of his health they pleaded with him to come back. He did 
so, and entered into his eternal reward with those savages 
acknowledging Christ as their King. They first heard of 
Him through the words, ''AH hail the power of Jesus' 
name," sung to the tune of "Coronation." 

The triumphant thought of the closing line of every 
stanza is "And crown Him Lord of all." In the beautiful 
Cologne Cathedral there is an image which illustrates this 
thought. The image, which is made of oak, represents a 
giant Offero, in search of a master. He served a great 
king until he learned that the prince of darkness was 
mightier than the king. He then began to serve Satan, 
but walking with Satan they came to a crucifLx. Satan 
trembled and would not pass, for he admitted "that Christ, 
who rules in heaven and had suffered on the cross for men, 
had overcome him." Then Offero took Christ for his 
Master. He never had to change masters again, for he 
had found Him who in the words of Perronet is "Lord of 

Both the hymn and the day emphasize the kingly office 
of Christ, which fact calls to mind another hymn by the 
same writer, written about five years later, or in 1785. 
This hymn is a greeting to Christ as our King. The 
opening stanza declares, 

"Hail, holy, holy, holy Lord! 
Let powers immortal sing. 
Adore the co-eternal word, 
Rejoice, the Lord is King!" 




HE strife is o'er, the battle done!" is the expression 
of the attitude of the Christian as he welcomes 
Easter with its messages of victory. Even more 
joyful than Christmas, yet how different the 
note. That was the child's festival, and there was much 
of joy in anticipation. The spirit of the day warranted the 
tone of merriment in the melody. The leading note now 
is equally, if not more joyful; but it is the note of deepest 
joy in fullest realization; the songs of victory which come 
from the throats of strong men and old men as well as of 
women and of children. They are a mighty host rejoicing 
over the battles of the Lord and the victory which is 
final and complete. This is the thought which should be 
in our minds as we consider, and select "Our Favorite 
Easter Hymns." 

This sentiment prevailed in the early Church. Hence 
it is that the hymn which to us is familiar from its first 
line, which reads: 

"The strife is o'er, the battle done!" 

was produced in the twelfth century, and is a product of 
the ancient Latin Church. In the original the first line 

"Finita Jam sunt praelia!" 

A double "Alleluia" is generally prefixed to the several 
stanzas of this hymn. It is the Christian note which is 



very much like the warrior's shout when his enemy flees 
and he knows the victory is his. 

The hymn is known to EngUsh readers through two very 
good translations. These were made by the Rev. Francis 
Pott and Dr. Neale. The former's translation is that 
which is used in our own hymn books. 

Rev. Pott, a clergyman of the Church of England, was 
born December 29, 1832. In addition to being a success- 
ful translator of hymns he is the author of a number of 
original hymns. Among these, perhaps, his best and most 
favorably knowTi hynm is the one which begins, "Angel 
voices ever singing." 


The strife is o'er, the battle done! 
The victory of Ufa is won; 
The song of triumph has begun, 

The pow'rs of death have done their worst, 
But Christ their legions hath dispersed; 
Let shouts of holy joy outburst, 

The three sad days are quickly sped; 
He rises glorious from the dead: 
All glory to our risen Head! 

He closed the yawning gates of Hell; 
The bars from Heav'n's high portals fell! 
Let hymns of praise His triumphs tell! 

Lord! by the stripes which wounded Thee, 
From Death's dread sting Thy servants free. 
That we may live, and sing to Thee, 


Another Latin hymn which is in common use at Easter 
is ''Welcome, happy morning, Age to age shall say." 
In the original this hymn contained many verses, beginning 
with the expression ''Salva Festa dies." The author of 
this hymn was Fortunatus. His full name was Venantius 
Honorius Clementianus Fortunatus. He was born about 
530 A. D., and died about 609 A. D., at Poitiers. His 
career was quite romantic. He was very poetical, and 
through his poetry gained the favor of King Sigibert, of 
Auslrasia, at whose court he lived. Later he went to 
Tours and afterward to Poitiers, where he entered a 
monastery and became bishop of Poitiers in 599 A. D. 
Our readers would find his life-story a very profitable and 
interesting bit of reading. 

The hymn, as we have it and as it is most generally used, 
was translated and abridged by John Ellerton. In many 
respects this beautiful hymn supplements the strife and 
victory song which we have just given. It sums up most 
instructively the fruits of the victory which Jesus wins for 
us in His resurrection. There are a number of interesting 
stories associated with this ancient hymn of the Church. 
They show how precious its truths must have been to 
men in trials and perils. We give an instance to increase 
the reader's appreciation of the hymn. 

Jerome of Prague, on his way to execution, sang several 
hymns. This ancient hymn by the bishop of Poitiers 
was one of those which he sang. After singing it, as the 
fire enveloped him, he cried, ''This soul in flames I offer, 
Lord to Thee," and died. 

Archbishop Cranmer, of Canterbury, in 1544 made an 
English version of this Easter hymn of "Welcome." 
He at the same time recommended its adoption and use in 
the English church. This document is still in existence. 



Welcome, happy morning! age to age shall say. 
Hell today is vanquished; heaven is won today! 
Lo! the Dead is Hving, God for evermore! 
Him, their true Creator, all His works adore. 
Welcome, happy morning! age to age shall say, 
Hell today is vanquished; heaven is won today! 

Earth her joy confesses, clothing her for spring, 
All good gifts returned with her returning King; 
Bloom in every meadow, leaves on every bough, 
Speak His sorrows ended, hail His triumph now. 
Welcome, happy morning! age to age shall say, 
Hell today is vanquished; heaven is won today! 

Months in due succession, days of lengthening light, 
Hours and passing moments praise Thee in their flight, 
Brightness of the morning, sky and fields and sea. 
Vanquisher of darkness, bring their praise to Thee. 
Welcome, happy morning! age to age shall say, 
Hell today is vanquished; heaven is won today! 

Maker and Redeemer, Life and Health of all, 
Thou from heaven beholding human nature's fall, 
Of the Father's Godhead, true and only Son, 
Manhood to deliver, manhood didst put on. 
Welcome, happy morning! age to age shall say, 
Hell today is vanquished; heaven is won today! 

Thou, of life the Author, death didst undergo, 
Tread the path of darkness, saving strength to show; 
Come then. True and Faithful, now fulfil Thy word; 
'Tis Thine own third morning: rise, O buried Lord! 
Welcome, happy morning! age to age shall say. 
Hell today is vanquished; heaven is won today! 

Loose the souls long prisoned, bound with Satan's chain; 

All that now is fallen raise to life again; 

Show Thy face in brightness, bid the nations see; 

Bring again our dayhght; day returns with Thee! 

Welcome, happy morning! age to age shall say, 

Hell today is vanquished; heaven is won today! 


The great Luther achieved some of his greatness through 
his hymns, the influence of which there were those who 
dreaded as much as they did his sermons. His great and 
hopeful heart compelled a vigor and a melody confident of 
victory. Strong of faith, fearless of consequences in the 
battles which he waged for the Lord in the Reformation of 
the Church, his hymns have a ruggedness and a strength 
which are found both in the words and the melody which 
mark them as distinct and peculiarly and distinctively 
evangelical. Without exception Luther's hymns in 
thought, wording and melody reflect the spirit of the 
Reformation, and their use will materially increase faith, 
devotion and churchliness. 

This historic background of the man and the times will 
help us to appreciate his grand Easter hymn, which in its 
English dress appears to us as beginning thus: 

"Christ Jesus lay in death's strong bands, 
For our offences given." 

The German hymn was first published at Erfurt in 1524. 
The hymn was based on an old Latin hymn, "Victimae 
Paschali Laudes." It was a sequence of the eleventh or 
twelfth century. There were earlier German translations 
also; but while these earlier German and Latin hymns and 
the Scriptural notices of the Passover lamb furnished Lu- 
ther the material of this beautiful hymn, yet the working 
out is entirely original and the result is a hymn which is 
second only to his unequaled "A mighty fortress is our 
God." Like the Reformation itself, which looked back- 
ward and gathered out of the ancient Church all that was 
good and true and purified it, making it truly a Church of 
Luther, yet really the Church of Christ, so in this hymn 
Luther makes actually his own that which was ancient, but 


which comes out in a Reformation mould, which has given 
to us one of the most expressive of our Easter hymns. 

There are at least four different translations of this 
Luther hymn which have merit. That which probably 
best expresses the thought and breathes the spirit of 
Luther is the translation by Richard Massie. He made 
it in 1854. It appears in "Martin Luther's Spiritual 
Songs." We are glad to have these English translations 
of the old historic hymns of the Church; but to enter fully 
into their spirit it will in all cases be helpful to know the 
original text. 


Christ Jesus lay in Death's strong bands, 

For our offences given; 
But now at God's Right Hand He stands, 

And brings us life from heaven: 
Wherefore let us joyful be, 
And sing to God right thankfully 

Loud songs of Alleluia! 

It was a strange and dreadful strife, 

When Life and Death contended; 
The victory remained with Life, 
The reign of Death was ended; 
Stript of power, no more he reigns; 
An empty form alone remains; 

His sting is lost for ever! 

So let us keep the festival 

Whereto the Lord invites us; 
Christ is Himself the joy of all, 

The Sun that warms and lights us; 
By His grace He doth impart 
Eternal sunshine to the heart; 

The night of sin is ended! 


Then let us feast this Easter day 

On the true Bread of heaven; 
The word of grace hath purged away 

The old and wicked leaven: 
Christ alone our souls will feed; 
He is our Meat and Drink indeed; 

Faith lives upon no other! 


Christ the Lord is ris'n today; 
Christians, haste your vows to pay; 
Offer ye your praises meet 
At the Paschal victim's feet. 
For the sheep the Lamb hath bled, 
Sinless in the sinner's stead; 
''Christ is ris'n," today we cry; 
Now He lives no more to die. 

Christ, the victim undefiled, 
Man to God hath reconciled; 
While in strange and awful strife 
Met together Death and Life: 
Christians, on this happy day 
Haste with joy your vows to pay; 
^'Christ is ris'n," today we cry; 
Now He lives no more to die. 

Christ, who once for sinners bled, 
Now that first-born from the dead, 
Throned in endless might and power, 
Lives and reigns for evermore. 
Hail, Eternal Hope on high! 
Hail, Thou King of victory! 
Hail, Thou Prince of Hfe adored! 
Help and save us, gracious Lord. 

This hymn is another which has come to us from the 
Latin. It has sometimes been credited to Nother, of St. 


Gall; but it is more likely a hymn of the eleventh or twelfth 
century. The oldest book in which it has been found is 
the "Lyra Davidica," which was published in 1708 A. D. 
The translation in use was made by a ^liss Jane Leeson, 
who has published a number of hymns under the title of 
''Hymns and Scenes of Childhood." Little if anything is 
known of her personal history. Yet her name will live, 
for she wrote the hymn: 

"Saviour, teach me day by day, 
Love's sweet lesson to obey." 

Though we know so little of her, yet we remember her, 
and she did not live in vain. Her prayer is the petition of 
many a child which sounds sweetly into the ear of the 
Saviour, our Master Teacher. 


Christ the Lord is risen again; 
Christ hath broken every chain; 
Hark, angelic voices cry. 
Singing evermore on high, 


He Who gave for us His life, 
Who for us endured the strife, 
Is our Paschal Lamb today; 
We, too, sing for joy, and say, 


He Who bore all pain and loss 
Comfortless upon the Cross, 
Lives in glory now on high. 
Pleads for us and hears our cry. 



He Who slumbered in the grave, 
Is exalted now to save; 
Now through Christendom it rings 
That the Lamb is King of kings, 


Thou our Paschal Lamb indeed, 
Christ, Thy ransomed people feed; 
Take our sins and guilt away, 
That we all may sing for aye, 


This is an Easter hymn from the first hymn book of the 
Bohemian Brethren. It appeared in 1 53 1 . These ''Breth- 
ren" allied themselves in the time of the Reformation with 
Luther. In their doctrines they laid special stress on the 
Eucharist in both kinds for the communicants, namely, 
that they should have both the bread and the wine; 
the preaching of God's word should be free to every man; 
the clergy should have no temporal authority; public 
crimes should be punished. In modern times Count 
Zinzendorf revived their teachings, and we have their 
successors in the Moravian Church. The German original 
of this hymn begins: 

"Christus ist erstanden von des Todes Banden." 

It is credited in its German form to Michael Weisse. It 
evidently, however, was suggested by a still older hymn, 
which begins: 

"Christ ist erstanden von der Marter alle." 

It goes back in its original to at least the twelfth century. 
The translation, which is used in English, is that of Miss 


Winkworth, who has been very busy with her pen in serv- 
ing the Church by furnishing many of the beautiful trans- 
lations of ancient hymns. Michael Weisse, like Luther, 
did much to enrich German hynmology. His work was 
principally translations from the ancient Latin. 

How rich German hymnology is! Our blood and our 
tongue are English; but when we begin to look for our 
favorite hymns we must often turn to those which come 
from the land of Luther. So it is that Christian F. 
Gellert has furnished us a splendid Easter hymn which is a 
great favorite and has come into almost general use in 
English hymn books. That hymn in the original begins: 

"Jesus Lebt! mit Ihm auch ich." 

This hymn was first published at Leipzig in 1757. 
It was in six six-line stanzas. The keynote of the hymn 
is to be found in John 14 : 19. It is his finest hymn and 
has its own peculiar lyric character. For the last fifty 
years there has scarcely been a hymn book of any im- 
portance in English-speaking countries which has not 
contained it. This alone should assure it a place among 
the favorite hymns. 

While originally written as an Easter hymn, it has also 
found its way into favor as a hymn for the dying and also 
for use at the consecration of cemeteries. It is often sung 
at funerals. Notable occasions have been in St. Paul's, 
London, at the funeral of the Lord Mayor G. S. Nottage, 
April 18, 1885; also that of Bishop McDougall, of Labuan, 
in Winchester Cathedral. How our appreciation of the 
old hymns increases as we learn their history. 

No Easter is complete without the singing of Charles 
Wesley's grand Easter hymn, which tells the Easter story 


and raises us with the story to a new life in a way which 
is inspiring. The original hymn had eleven stanzas. It 
appeared in 1739. The hymn, sung to an adaptation of 
Handel's ''See the conquering Hero comes," is "a, sermon 
in song." 

The effect of this hymn is illustrated by an incident. 
It afforded great comfort to Thomas Lacy, an earnest 
English Methodist. On Easter morning he repeated the 
first stanza to his sister. His voice in his physical weakness 
faltered. At its close he was told that death was near. 
"Then," he replied, "I have a pleasant prospect before 

Wesley's easter sermon in song 

Christ the Lord is risen today, 
Sons of men and angels say. 
Raise your joys and triumphs high; 
Sing, ye heavens, and earth reply. 

Love's redeeming work is done, 
Fought the fight, the battle won; 
Lo! the Sun's eclipse is o'er; 
Lo! He sets in blood no more. 

Vain the stone, the watch, the seal; 
Christ has burst the gates of hell! 
Death in vain forbids His rise; 
Christ hath opened Paradise. 

Lives again our glorious King; 
Where, O Death, is now thy sting? 
Dying once, He all doth save. 
Where thy victory, O Grave? 

Soar we now where Christ hath led, 
Following our exalted Head: 
Made like Him, like Him we rise; 
Ours the cross, the grave, the skies! 



Hail, the Lord of earth and heaven! 
Praise to Thee by both be given: 
Thee we greet triumphant now; 
Hail, the Resurrection Thou! 

Charles Wesley, the author of this hymn, was the greatest 
hymn writer of the Wesley family, and it was a large and a 
noted one, Charles being the eighteenth child of Samuel 
and Susanna Wesley. He is the author, it is said, of 6500 
hymns. He was a Methodist clergyman, and is knowTi as 
one of the ''Oxford Methodists." A good Methodist, he 
has wTitten not a few hymns which the various churches 
wdth practical unanimity have taken up and adopted into 
the family of good Evangelical hyTnns. "Christ the Lord 
is risen today," the lines of which usually end with the 
"Hallelujah," is one of them. 

The origin of that ancient hymn, "The day of Resurrec- 
tion," and the occasion of its singing are so interesting 
and suggestive that we conclude with the ston^ of this 
h>Tnn which is necessary to the completion of the songs 
of the sanctuary at Easter time. Dr. John Mason Neale, 
the translator, calls it a "glorious old hymn of \dctory." 
It is part of the canon for Easter of John Damascus, who 
died 780 A. D. 

The circumstances of this old song are very interesting. 
The scene was at Athens. We are told that as midnight 
approached the archbishop and the priests, accompanied 
by the king and the queen, left the church and stationed 
themselves on the pla tf orm, which was raised considerably 
above the ground. This was in order that the concourse 
of people might have a good view. A vast throng stood 
in breathless expectation. All held unhghted tapers, in 
readiness for when the glad moment should arrive. Mean- 
while the priests murmured a melancholy chant. Suddenly 


a cannon announced that midnight had passed and Easter 
Day had begun. The archbishop elevated the cross and 
exclaimed exultantly, "Christos Anesti," which is, "Christ 
is risen." Everyone instantly took up the cry. The vast 
multitude broke through and dispelled the intense and 
mournful silence. "Christ is risen! Christ is risen!" 
echoed and re-echoed everywhere. The darkness was 
instantly superseded by a blaze of light. Thousands of 
tapers, like streams of fire, gleamed in all directions. 
The roll of the drum and the peal of the cannon resounded 
throughout the town. Rockets from both hill and plain 
shot skyward. Meanwhile the aged priests chanted 
joyfully, "Christ is risen from the dead, having trampled 
death beneath His feet, and henceforth they that are in 
the tombs have everlasting life." Out of this has grown 
our Easter hymn, "The day of resurrection." 


The day of Resurrection! 

Earth, tell it out abroad! 
The Passover of gladness, 

The Passover of God! 
From death to Life eternal, 

From earth unto the sky, 
Our Christ hath brought us over, 

With hymns of victory. 

Our hearts be pure from evil. 

That we may see aright 
The Lord in rays eternal 

Of resurrection light: 
And listening to His accents, 

May hear, so calm and plain, 
His own "All hail!"— and, hearing, 

May raise the victor strain. 


Now let the heavens be joyful! 

Let earth her song begin! 
Let all the world keep triumph, 

And all that is therein: 
In grateful exultation 

Their notes let all things blend, 
For Christ the Lord hath risen, 

Our Joy that hath no end. 

In our celebration of the grand old festival, after v^^e have 
learned that there is so much meaning and history in the 
old hymns which are our favorites, can we rob ourselves 
of much of the joy and of the blessing of the Easter time 
by omitting them from our services, and, perhaps, sub- 
stituting meaningless ditties, which have as their sole 
argument for their introduction the newness of their manu- 
factured jingles which appeal to the emotions, but carry 
with them nothing w^hich is historic or fundamental to the 
greatest fact of our redemption — the resurrection of our 


J^s^ HE Saviour Himself has styled Himself the Good 

^^ Shepherd. The figure is so beautiful and ap- 

^S8S propriate that it appeals strongly to all Christians. 

For this reason quite a few of the hymns which 

Christians especially love are hymns to the Good Shepherd 

or which recognize Christians as the sheep of the Saviour's 


Isaac Watts has given us one of these hymns. Written 
in 1 7 19 it combines in the stanzas the recognition of Christ 
as the Shepherd and the blessings which come to those 
who are of His flock. Mr. W. T. Stead says of this 
hymn that it is distinctively a Scotch hymn; but, like some 
of the old German and ancient Latin hymns it has become 
international and belongs to all Christians who recognize 
in Jesus the Good Shepherd. The hymn is an elaboration 
of the 23d Psalm. Who does not claim, know and love 
that beautiful Shepherd Psalm? 

watts' versification of the 23D PSALM 

The Lord my Shepherd is, 

I shall be well supplied: 
Since He is mine, and I am His, 

What can I want beside? 

He leads me to the place 
Where heavenly pasture grows, 

Where living waters gently pass. 
And full salvation flows. 

"/ am the good Shepherd, and know My sheep, 
and am known of mine." 


If e'er I go astray, 

He doth my soul reclaim, 
And guides me in His own right way, 

For His most holy Name. 

While He affords His aid, 

I cannot yield to fear: 
Though I should walk thro' death's dark shade, 

My Shepherd's with me there. 

The bounties of Thy love 

Shall crown my following days; 
Nor from Thy house will I remove, 

Nor cease to speak Thy praise. 

A hymn for the children which is growing in use and 
favor, but of which the author is unknown, and which 
appeals very strongly to the imagination of the little ones 
is the hymn of W'hich the first stanza is, 

Saviour, hke a shepherd lead us. 

Much we need Thy tend'rest care; 
In Thy pleasant pastures feed us, 

For our use Thy folds prepare. 
II : Blessed Jesus, Blessed Jesus, 

Thou hast bought us. Thine we are. : || 

Another beautiful child's hymn based on the idea of 
Jesus as the Good Shepherd comes to us from the pen of a 
German woman, Henrietta Louise von Ha}Ti. The writer 
was a teacher in a Girl's School at Herrnhut, where she 
died in 1782. She was a poetess of some merit, her writings 
reflecting a fervent love for Christ. She wrote about forty 
hymns which have found their way into the hymn books of 
the Moravian Church. Only one of these has come into 


use among English people other than the Moravians. 
This is her hymn which regards children as Iambs of the 
Good Shepherd, the first line of which in German is, 
"Weil ich Jesu Schaflein bin." There are several English 
translations, the one following being the best known. 


I am Jesus' little lamb, 

Ever glad at heart I am; 

Jesus loves me, Jesus knows me, 

All things fair and good He shows me, 

Even calls me by name; 

Every day He is the same. 

Safely in and out I go, 
Jesus loves and keeps me so, 
When I hunger Jesus feeds me; 
When I thirst, my Shepherd leads me 
Where the waters softly flow. 
Where the sweetest pastures grow. 

Should I not be always glad? 
None whom Jesus loves are sad; 
And when this short life is ended 
Those whom the God Shepherd tended 
Will be taken to the skies, 
There to dwell in Paradise. 

Another woman has written a hymn which is exceedingly 
popular with the children, and which under the figure of 
Jesus gathering the lambs tells very beautifully the sweet 
story of Jesus and of how we may come to Him and finally 
go to Him to be with Him as those who are the lambs of 
the kingdom of heaven. The hymn is called, 


"a hymn of the love of JESUS " 

I think, when I read that sweet story of old, 

When Jesus was here among men, 
How He called Httle children as lambs to His fold, 

I should like to have been with them then. 

I wish that His hands had been placed on my head, 
That His arm had been thrown around me, 

And that I might have seen His kind look when He said, 
*'Let the Httle ones come unto Me." 

Yet still to His footstool in prayer I may go, 

And ask for a share in His love; 
And if I thus earnestly seek Him below, 

I shall see Him and hear Him above; 

In that beautiful place He has gone to prepare 

For all who are washed and forgiven; 
Full many dear children are gathering there, 

"For of such is the kingdom of heaven." 

But thousands and thousands who wander and fail. 

Never heard of that heavenly home : 
I wish they could know there is room for them all. 

And that Jesus has bid them to come. 

And O, how I long for that glorious time, 

The sweetest and brightest and best, 
When the dear little children of every cHme, 

Shall crowd to His arms and be blest. Amen. 

The writer of this hymn, Jemima Thompson Luke, was 
the wife of the Rev. Samuel Luke, a congregational minis- 
ter. She wrote poems for a juvenile magazine when she 
was only thirteen years of age. These, however, were pub- 
lished anonomously. She is kno"'ATi to the Christian world 
through the hymn which we have just quoted. It is 


told that she wrote it while riding in a stage coach in 184 1, 
intending it for use in the village school near the home of 
her father. It was originally published without any name ; 
but has gradually come into wide use and is making the 
name of the woman who wrote it known on both sides of 
the Atlantic. 

A hymn which has the distinction of being called the 
oldest of Sunday-school hynms is distinctly a hymn which 
has as its distinguishing feature a recognition of Jesus as 
the Shepherd of Youth. 


Shepherd of tender youth, 

Guiding in love and truth 

Through devious ways: 
Christ, our triumphant King, 
We come Thy Name to sing, 
And here our children bring, 

To join Thy praise. 

Thou art our holy Lord, 
all-subduing Word, 

Healer of strife: 
Thou didst Thyself abase, 
That from sin's deep disgrace 
Thou mightest save our race, 

And give us Ufe. 

O wisdom's great High Priest 
Thou hast prepared the feast 

Of holy love; 
And in our mortal pain 
None calls on Thee in vain: 
Help Thou dost not disdain, 

Help from above. 

"Suffer little children to come unto me.' 


Ever be near our side, 

Our Shepherd and our Guide, 

Our staff and song: 
Jesus, Thou Christ of God, 
By Thine enduring Word, 
Lead us where Thou hast trod; 

Make our faith strong. 

So now, and till we die, 
Sound we Thy praises high, 

And joyful sing: 
Let all the holy throng 
Who to Thy Church belong. 
Unite and swell the song 

To Christ our King! 

This hymn which was written in Greek about the close 
of the second or the beginning of the third century is 
credited to Clement, of Alexandria, a Christian philosopher 
and teacher, whose active life was lived in the latter part 
of the second and the beginning of the third century. 
The original of the hymn is found in the appendix to the 
Tutofy composed by Titus Flavins Clemens, Clement of 
Alexandria. The hymn follows a treatise on "Jesus as 
the Great Teacher." While the author's references sug- 
gest a possible earlier authorship, it is generally called 
"Clement's Hymn." 

This hymn from the Greek reminds us of the statement 
of history that the disciples who spoke Greek seem to have 
been especially tuneful and confirms the statement that 
"Greece, the land of poets, was doubtless the cradle of 
Christian hymnody." The early believers taught their 
songs to their children, and it is as certain that our first 
Sunday-school hymn was written somewhere in the land 
of the classic East as it is that the Book of Revelation was 
written on the Isle of Patmos. 


IN reviewing the use of the hymns of the Ascension, 
^^ in order to select those which were the most gen- 
j^^^ erally used as the favorites to be described, we 
were surprised to note that in several books of 
hymns the whole subject of the Ascension had been over- 
looked. Yet this is a natural result of the failure to ob- 
serve the Church Year by many professing Christians. 
They miss the force of the logic and the sequence in 

The Ascension fact is a crowning climax to the Easter 
triumph. Its setting is picturesque ; its facts fully attested, 
and its lessons most reassuring to the believer. While 
discoursing to and commissioning His apostles, Jesus 
suddenly and visibly ascends beyond the clouds into 
heaven, whence He had come, and assumes His seat at 
the right hand of Power in eternity. The event in its 
manner and in its significance means so much to every 
believer in Him that the soul witnessing it may well shout 
in exultation in contemplation of the triumphant departure. 
The writers of evangelical hymns have not ignored the 
triumphant scene which marks the termination of the 
physical presence of our Lord upon the earth. The 
deep impression which the Ascension should make on our 
hearts and lives is most fully expressed in a remarkable 
hymn wTitten in German by Gerhard Tersteegen, and 
furnished in an excellent English translation by that well- 
known translator, Catherine Winkworth. The peculiarity 
of the meter has prevented the wide popularity of the 



hymn, which, embracing the great facts of the Ascension, 
is most expressive. 


Conquering Prince and Lord of glory, 

Majesty enthroned in Hght! 
All the heavens are bowed before Thee, 

Far beyond them spreads Thy might. 
Shall I fall not at Thy feet, 
And my heart with rapture beat, 
Now Thy glory is displayed, 
Thine ere yet the worlds were made? 

As I watch Thee far ascending 

To the right hand of the throne. 
See the host before Thee bending, 

Praising Thee in sweetest tone, 
Shall not I too at Thy feet 
Here the angels' strain repeat, 
And rejoice that heaven doth ring 
With the triumph of my King? 

Power and Spirit are o'erflowing; 

On me also be they poured: 
Every hindrance overthrowing, 

Make Thy foes Thy footstool, Lord. 
Yea, let earth's remotest end 
To Thy righteous scepter bend; 
Make Thy way before Thee plain. 
O'er all hearts and spirits reign. 

Lo, Thy presence now is filling 

All Thy Church in every place. 
Fill my heart too, make me willing 

In this season of Thy grace. 
Come, Thou King of glory, come, 
Deign to make my heart Thy home, 
There abide and rule alone, 
As upon Thy heavenly throne. 


Thou art leaving me, yet bringing 

God and heaven most inly near; 
From this earthly life upspringing, 

As though still I saw thee here. 
Let my heart, transplanted hence, 
Strange to earth, and time, and sense, 
Dwell with Thee in heaven e'en now, 
Where our only joy art Thou! 

The author of this hymn, Gerhard Tersteegen, was bom 
at Mors, Rhenish Prussia, November 25, 1697. He began 
to study for the ministry in the Reformed Church, but 
was compelled by the death of his father to go into business. 
He soon became what is known as a Mystic, absented 
himself from the Holy Communion because he was not 
willing to commune with open sinners. He often became 
spiritually depressed, and in one of these moods, on Maundy 
Thursday, 1724, he wrote out what he called "sl covenant 
with God," which he signed with his own blood. He kept 
aloof from the established churches, but made no attempt 
to organize one of his own. He preached so earnestly 
that he strained his voice and in his later years w^as able 
to speak only to small audiences. He established a 
'Tilgerhutte," or ''Pilgrim's Cottage," for ''Awakened 
Sinners," and in preaching and living, as wxU as in hymn 
writing, was deeply pious. His hymns, which are quite 
numerous, have perpetuated his name. They are found 
in both Lutheran and Reformed hymnals. His "Prayer 
to Jesus on His Ascension" is an excellent illustration of the 
style of his hymns. 

An Ascension Hymn of the Middle Ages 

M. Guizot, in speaking of the characteristics of the lit- 
erature of the "Middle Ages," very correctly states that 


which particularly applies to the hymns of the period, "It 
ceased to be a literature; it had become an action, a power; 
it sought to act on the depths of the soul, to produce real 
effects, genuine reformations, effectual conversions. It 
was not so much sacred eloquence as a spiritual 

One of the writers of this period was the Venerable 
Bede. He was in every respect a monk, although he 
reflected the better side of the life of the monk, being ex- 
ceedingly devout and very studious. Venerable Bede 
became a deacon in 692 A. D. and a priest in 702 A. D. 
He spent his entire life, however, in the monasteries, dying 
on Ascension Day, May 26, 735 A. D. This fact, to- 
gether wdth the story of the manner in which he spent his 
closing hours of earthly life, will add interest to his Ascen- 
sion hymn. 

A pupil who sat at his feet writes: "He lived joyfully, 
gi\dng thanks to God day and night, yea, at all hours, until 
the Feast of the Ascension; every day he gave lessons to us, 
his pupils, and the rest of his time he occupied in chanting 
psalms. He was awake almost the whole night, and spent 
it in joy and thanksgiving, and when he awoke from his 
short sleep immediately he raised his hands on high and 
began again to give thanks. He sang the words of the 
apostle Paul — 'It is a dreadful thing to fall into the hands 
of the living God.' He sang much besides from the Holy 
Scriptures, and also many Anglo-Saxon hymns. He sang 
antiphons, according to his and our custom, and among 
others this one, '0 King of Glory, Lord of power! who 
didst this day ascend a victor above all the heavens, leave 
us not orphaned behind Thee, but send to us the promised 
Spirit of the Father, Hallelujah!' " In the midst of his 
singing he had his pupils busy writing out some translations. 


He hastened them that the task might be completed. At 
last a scholar told him all was written. He said, "It is fin- 
ished. Raise my head, for it will do me good to sit oppo- 
site my sanctuary, where I was wont to kneel down to 
pray, that sitting I may call upon my Father." He seated 
himself thus upon the ground in his cell and sang, the 
''Glory to Thee, O God, Father, Son and Holy Ghost." 
The pupil says: "When he had named the Holy Ghost he 
breathed his last." This story of the author and his 
ascension to God should give us a new interest in the hymn 
which we now quote. We give the entire hymn, for it is 
abbreviated in many collections. In the reading of it we 
would ask the reader to note the completeness of the poem, 
which is like a continued story, needing every thought to 
bring out its whole truth. What a mistake is often made 
in pubHc worship in cutting out or cutting off important 
portions of hymns in order to shorten services! Thus we 
often are robbed of the real spirit and blessing of the hymn 


A hymn of glory let us sing; 

New hymns throughout the world shall ring; 

By a new way none ever trod, 

Christ mounteth to the throne of God. 

The apostles on the mountain stand — 
The mystic mount — in holy land; 
They, with the virgin mother, see 
Jesus ascend in majesty. 

The angels say to the eleven, 
"Why stand ye gazing into heaven? 
This is the Saviour — this is He! 
Jesus hath triumph'd gloriously!" 


They said the Lord should come again, 
As these beheld Him rising then, 
Calm soaring through the radiant sky, 
Mounting its dazzUng summits high. 

May our affections thither tend. 
And thither constantly ascend, 
Where, seated on the Father's throne, 
Thee reigning in the heavens we own! 

Be Thou our present Joy, O Lord, 
Who wilt be ever our Reward; 
And as the countless ages flee, 
May all our glory be in Thee! 

Christopher Wordsworth, an English rector of the early 
nineteenth centur}-, who was a prolific writer, has left 
several permanent contributions to the hymns of merit 
and wide use. One of these is a hymn on the Ascension, 
which is most picturesque in its language and comprehen- 
sive in its teaching. 

Wordsworth's picturesque ascension hymn 

See the Conqueror mounts in triumph; 

See the King in royal state. 
Riding on the clouds, His chariot 

To His heavenly palace gate! 
Hark! the choir of angel voices. 

Joyful alleluias sing. 
And the portals high are Hfted 

To receive their heavenly Kjng. 

W^ho is this that comes in glory. 

With the trump of jubilee? 
Lord of battles, God of armies. 

He hath gained the victory! 
He who on the cross did suffer, 

He who from the grave arose, 
He hath vanquished sin and Satan, 

He by death hath spoiled His foes. 


Now our heavenly Aaron enters, 

With His blood within the veil; 
Joshua now is come to Canaan, 

And the kings before Him quail; 
Now He plants the tribes of Israel 

In their promised resting-place; 
Now our great Elijah offers 

Double portion of His grace. 

He hath raised our human nature 

On the clouds to God's right hand: 
There we sit in heavenly places, 

There with Him in glory stand; 
Jesus reigns, adored by angels: 

Man with God is on the throne; 
Mighty Lord, in Thine ascension 

We by faith behold our own. 

Wordsworth drew his inspiration from the Scriptures 
and sought to interpret them for the benefit of the wor- 
shiper. This is very evident in his Ascension hymn, which, 
in addition to expressing poetically the Scripture story of 
the Ascension, weaves in the teaching under Scripture 
imagery, which to a marked degree adds richness and 
beauty to the hymn. 

A native of Nossen, in the Hartz region, produced a 
number of German hymns, of which one, an Ascension 
hymn, has been translated into English. We refer to 
Friederich Funcke, who is the author of a hymn which is 
very popular among Lutheran worshipers. It may be 


Draw us to Thee, Lord Jesus, 

And we will hasten on; 
For strong desire doth seize us 

To go where Thou art gone. 


Draw us to Thee; enlighten 

These hearts to find Thy way, 
That else the tempests frighten, 

Or pleasures lure astray. 

Draw us to Thee; and teach us 
Even now that rest to find, 

Where turmoils cannot reach us, 
Nor cares weigh down the mind. 

Draw us to Thee; nor leave us 
Till all our path is trod, 

Then in Thine arms receive us, 
And bear us home to God. 

There are several variations of this hymn, which has 
been also ascribed to several other authors. The real 
author, Friederich Funcke, was a man of broad education 
and especially talented as a musician. He was for some 
years Stadt Cantor in Liineberg and later became pastor 
at Romstedt, where he died in 1699. He was the editor 
of a hymnal which contained no less than forty-three 
melodies of his own composing. 

Charles Wesley, the great Methodist hymn writer, has 
written a ''Hymn for Ascension Day," which has come into 
very general favor. When we take into consideration 
the number of hymns w^hich Wesley has written it 
is high praise to be told that this hymn stands as one 
of the three hymns from his pen which have attained 
widest popularity. The other tw^o are "Jesus, Lover of 
My Soul" and "Hark, the Herald Angels Sing!" Its 
popularity and its merit make it a worthy conclusion 
for this article. 


Wesley's hymn on the ascension 

Hail the day that sees Him rise, 
To His throne above the skies; 

Christ, awhile to mortals given, 
Reascends His native heaven. 

There for Him high triumph waits; 

Lift your heads, eternal gates! 
Wide unfold the radiant scene; 

Take the King of glory in! 

Lo! the heaven its Lord receives. 
Yet He loves the earth He leaves; 

Though returning to His throne, 
Still He calls mankind His own. 

See, He lifts His hands above! 

See, He shows the prints of love! 
Hark, His gracious lips bestow 

Blessings on His Church below! 

Still for us His death He pleads; 

Prevalent He intercedes; 
Near Himself prepares our place, 

Harbinger of human race. 

Lord, though parted from our sight, 
Far above the starry height, 

Grant our hearts may thither rise, 
Following Thee above the skies. 

There we shall with Thee remain. 
Partners of Thy endless reign; 

There Thy face unclouded see, 

Find our heaven of heavens in Thee. 


'MNS which Uft the soul to God m worship, 
at the same time by the power of their devotional 
approach to God most effectively teach the things 
which pertain to God. Many good Christians 
have found truth, indelibly stamped it on their minds, 
and have been gripped by spiritual impulses through some 
verse of a beautiful hymn — a hymn which carries the gospel 
theme beyond the theory, and, so to speak, grafts it into 
the soul itself. It is this fact which renders vital to a 
unified and effective service the complete harmonization 
of the Scripture lessons and the hymn selections with the 
theme of the day. Herein lies one of the chief beauties and 
benefits which follow the arrangement of the church year. 
By the systematic and logically arranged unfolding of the 
gospel with the life of Christ and His works and teachings 
as the guiding principle, unity and harmony, as well as 
fulness of the presentation of truth are almost compelled. 
Thus when the Pentecostal festival approaches, naturally 
the work of the Holy Spirit is emphasized. Otherwise the 
very nature of the Third Person of the Trinity and the 
type of work which is done for man by the Holy Spirit 
would result in an under-emphasis of that which is so im- 
portant that Christ Himself told His disciples that it was 
expedient for them that He should go away in order that 
the Holy Spirit might come unto them. 

The constant and necessary presence of the Holy Spirit 
in the Church, a presence promised by the Saviour Him- 



self, which promise was fulfilled on the day of Pentecost, 
is often most efifectively impressed upon the minds of 
Christian people through the use of the hymns of invoca- 
tion of the Holy Spirit. An orderly service is most 
properly opened with such a hymn. 

One of Luther's great hymns is his "Komm Heiliger 
Geist, Herre Gott." It is an amplification of an old 
German version of a still older Latin hymn, the "Veni 
Sancte Spiritus." This hymn as Luther wrote it, with its 
old tune, was first published in German in 1524. 

Luther's hymn to the holy spirit 

Come, Holy Spirit, God and Lord! 

Be all Thy graces now outpoured 

On the believer's mind and soul. 

To strengthen, save, and make us whole. 

Lord, by the brightness of Thy light, 
Thou in the faith dost men unite 
Of every land and every tongue; 
This to Thy praise, O Lord, be sung. 

Thou strong Defence, Thou holy Light, 
Teach us to know our God aright. 
And call Him Father from the heart; 
, The word of life and truth impart; 

That we may love not doctrines strange. 
Nor e'er to other teachers range. 
But Jesus for our Master own, 
And put our trust in Him alone. 

Thou sacred Ardor, Comfort sweet, 
Help us to wait with ready feet 
And willing heart at Thy command, 
Nor trial fright us from Thy band. 


Lord, make us ready with Thy powers; 
Strengthen the flesh in weaker hours, 
That as good warriors we may force 
Through Hfe and death to Thee our course! 

This hymn, so rich in devotion and instruction, has an 
abundant history of its own. We are told that it rapidly 
came into great favor among the common people. An 
evidence of this is the fact which the historian narrates, 
namely, that in 1526, at the battle of Frankenhausen, in 
the Peasants' War, a whole host of them stood immovable 
singing this hymn. According to the story, the Land- 
grave of Hesse gave the order to attack, but the peasants 
remained unmoved, neither retreating nor defending them- 
selves, but singing and waiting for the miraculous help of 
God, which their leader, Thomas Mxinzer, had predicted. 
As they sang about 50,000 of them were slain and the rest 
were finally dispersed. 

Another instance which illustrates the power which this 
hymn soon secured over the minds and hearts of the people 
occurred in August, 1527. It was August i6th that Leon- 
ard Kayser was burned at the stake because of his evangel- 
ical preaching, which fact stresses the heroism of the men 
of the times of Luther, who preached and defended the 
Reformation doctrines. As the preparations for Kayser's 
martyrdom were completed he asked the people to sing 
"Komm Heiliger Geist, Herre Gott." With deep emotion 
they sang, and while the flames leaped up his own voice 
was heard as he cried out, "Jesus, I am Thine; save 
me." Repeating these words several times, he died. 

It is told of a family in Silesia that in the midst of a 
terrible storm in 1535 they sat singing this hymn and were 
uninjured, while the roof of their home was blown from over 
their heads. 


The wife of the celebrated Frederic Perthes, of Hamburg, 
sent several stanzas of this hymn to her son, who was a 
student at the university, as a birthday greeting. Most 
appropriate it was, especially in those times. The third 
and fourth stanzas were those which she sent. They would 
not be amiss as a message to the university student of today. 

This hymn of Luther's is most appropriate as the open- 
ing hymn of invocation at public worship. It found place 
in this position in the official jubilee celebration service, 
which inaugurated the great quadricentennial jubilee of 
the Protestant Reformation. With many ministers it is a 
favorite, not only for use in public worship, but also in 
private devotion. Not a few instances are told of the use 
of this hymn or portions of it as the thought to sustain 
the soul at the moment of its departure from the flesh. 

There are a number of translations of this hymn, which 
fact is an evidence of the wide appreciation of its value as a 
devotional hymn and medium of instruction concerning 
the person and work of the Holy Ghost. The translation 
which we have given is that of Miss Winkworth, made in 


Luther wrote another hymn of invocation of the Holy 
Ghost, which was first published in Walther's hymn book 
in 1524. The first verse of this hymn is credited to a 
priest and poet of the twelfth century. Luther's hymn, 
which was translated into Latin in 1550 and into Tamil for 
use by that pioneer of Christian missions in India, Bar- 
tholomew Ziegenbalg, in 1723, was once used under very 
peculiar circumstances. The story is told in 'The Stories 
of Evangelical Hymns," by Karl Heinrich. It was not 
long after Luther had written and published it that 
about eighty fishermen were fishing on the ice between 


Copenhagen and the Island of Saltholm. The ice gave 
way and precipitated them into the icy water. They 
were carried along by the current and gradually became 
separated, nearly thirty of them being drowned. While 
they were still close together one of them, Hans Vensen, 
called out to the others, ''Dear brethren, let us not fall 
into despair because we shall lose our lives, but let us 
prove by our conduct that we have been hearers of God's 
word." They then sang "Nun bitten wir den Heilegen 
Geist," and after it the hymn for the dying, Luther's 
metrical version of Simeon's valedictory, the "Nunc Dim- 
ittis" — "Mit Fried und Freud ich fahr dahin." 

Luther's "nun bitten wir den heilegen geist'* 

Now pray we all God, the Comforter, 
Into every heart true faith to pour, 
And that He defend us, till death here end us, 
When for heaven we leave this world of sorrow. 
Have mercy, Lord. 

Shine into us, O most holy Light, 
That we Jesus may know aright; 
Stayed on Him forever, our only Saviour, 
Who to our true home again hath brought us. 
Have mercy, Lord. 

Spirit of love, now our spirits bless us; 
Them with Thy own heavenly fire possess; 
That in heart uniting, in peace delighting, 
We may henceforth all be one in spirit. 
Have mercy, Lord. 

Heinrich Held of Gunrau, Silesia, is the author, and the 
Rev. Dr. C. W. Schaefler, of Germantown, Philadelphia, 
the translator into EngHsh of one of the most popular of 


the German hymns to the Holy Spirit. The author was 
a lawyer, who endured many trials in the times of war in 
which he lived. In this school of trial his soul was tem- 
pered and attuned to sing and he became one of the best 
of Silesian hymn writers. Only two of his hymns have been 
translated into English. The one is his Advent hymn, 
"Gott sei Dank durch alle Welt"; the other is "Komm 
o komm, du Geist des Lebens." The latter is one of the 
finest hymns of invocation to the Holy Spirit ever written. 
Written in 1664, it was translated by the late Dr. C. W. 
Schaefi'er in 1866. It is today in high favor in both Eng- 
lish and German churches. While there are a number 
of translations, none brings out the meaning better than 
does the English version from the pen of Dr. Schaeffer. 


Come, O come, Thou quickening Spirit, 

Thou for ever art divine; 
Let Thy power never fail me, 

Always fill this heart of mine; 
Thus shall grace, and truth, and light 
Dissipate the gloom of night. 

Grant my mind and my affections 

Wisdom, counsel, purity; 
That I may be ever seeking 

Naught but that which pleases Thee. 
Let Thy knowledge spread and grow, 
Working error's overthrow. 

Lead me to green pastures, lead me 

By the true and living way. 
Shield me from each strong temptation, 

That might draw my heart astray; 
And if e'er my feet should turn. 
For each error let me mourn. 



Holy Spirit, strong and mighty, 

Thou who makest all things new, 
Make Thy work within me perfect, 

Help me by Thy word so true. 
Arm me with that sword of Thine, 
And the victory shall be mine. 

In the faith, oh, make me steadfast; 

Let not Satan, death, or shame 
Of my confidence deprive me; 

Lord, my refuge is Thy name. 
When the flesh inclines to ill, 
Let Thy word prove stronger still. 

And when my last hour approaches. 
Let my hopes grow yet more bright, 

Since I am an heir of heaven. 
In Thy glorious courts of Hght, 

Fairer far than voice can tell. 

There, redeemed by Christ, to dwell. 

Another hymn invoking the comfort and help of the 
Holy Spirit which was bom in domestic and personal 
affliction and which is the only hymn of the author which 
has passed into English, is Michael Schirmer's ^'O Heil'ger 
Geist, kehr bei uns Ein." This hymn, which is called 
"A Short Hymn for Whitsuntide," is a beautiful New 
Testament paraphrase of Isaiah 11:2, "And the Spirit 
of the Lord shall rest upon him, the spirit of wisdom and 
understanding, the spirit of counsel and might, the spirit 
of knowledge and of the fear of the Lord." The author, 
who wrote poems in both German and Latin, was crowned 
as a poet in 1 63 7 . D omestic and personal sorrows mellowed 
his soul and gave character to his song. We quote the 
first stanza of his hymn, but advise our readers to look up 
and study the entire hymn. 



''O Holy Spirit, enter in, 
Among these hearts Thy work begin, 

Thy temple deign to make us; 
Sun of the soul, Thou Light divine, 
Around and in us brightly shine, 

To strength and gladness wake us. 
Where Thou shinest. Life from heaven 
There is given. We before Thee 
For that precious gift implore Thee." 

A hymn of invocation of the Holy Spirit which has come 
to us out of the period of the Thirty Years' War, and which 
is from the pen of that prolific and sweet singer of Germany, 
Paul Gerhardt, begins in German with the words, "Zeuch 
ein zu deinen Thoren." The times under which it came 
into being emphasize the fact that as affliction is "the 
schoolmaster to bring men to Christ,'' so tribulation and 
trial make men feel the need of the Comforter whom that 
Saviour promised. As originally written and published 
in Wakernagel's "Geistliche Lieder," this hymn contained 
sixteen stanzas. We give the five stanzas herewith from 
the translation made by Miss Winkworth, the most suc- 
cessful and most prolific of English translators of Ger- 
man hymns. The translation was made in 1862. 


Oh, enter, Lord, Thy temple. 

Be Thou my spirit's Guest, 
Who at my birth didst give me 

A second birth more blest. 
Though here to dwell Thou deignest, 

Thou in the Godhead, Lord, 
For ever equal reignest. 

Art equally adored. 


Oh, enter, let me know Thee, 

And feel Thy power within, 
The power that breaks our fetters, 

And rescues us from sin. 
That I may serve Thee truly, 

Oh, wash and cleanse Thou me, 
To render honor duly 

With perfect heart to Thee. 

'Tis Thou, O Spirit, teachest 

The soul to pray aright; 
Thy songs have sweetest music, 

Thy prayers have wondrous might. 
They pierce the highest heaven, 

Unheard they cannot fall, 
Till He His help hath given 

Who surely helpeth all. 

The whole wide world, O Spirit, 

Upon Thy hands doth rest; 
Our wayward hearts Thou turnest 

As it may seem Thee best. 
As Thou hast done so often, 

Once more Thy power make known. 
Convert the wicked, soften 

To tears the heart of stone. 

Order our path in all things 

According to Thy mind. 
And when this life is over, 

And all must be resigned, 
With calm and fearless spirit 

Oh, grant us then to die, 
And after death inherit 

Eternal life on high. 

Ray Palmer's English rendition of the old "Veni Sanctus 
Spiritus" of the early Latin Church is deservedly popular. 


palmer's translation of the *'veni sanctus spiritus'* 

"Come, Holy Ghost, in love 
Shed on us from above 

Thine own bright ray! 
Divinely good Thou art; 
Thy sacred gifts impart 
To gladden each sad heart: 

Oh, come today! 


Come, tenderest Friend, and best, 
Our most delightful Guest, 

With soothing power; 
Rest, which the weary know. 
Shade, 'mid the noontide glow, 
Peace, when deep griefs o'erflow — 

Cheer us, this hour! 

"Come, Light serene, and still 
Our inmost bosoms fill; 

Dwell in each breast; 
We know no dawn but Thine; 
Send forth Thy beams divine, 
On our dark souls to shine, 

And make us blest! 

"Exalt our low desires; 
Extinguish passion's fires; 

Heal every wound; 
Our stubborn spirits bend; 
Our icy coldness end; 
Our devious steps attend, 

While heavenward bound. 

"Come, all the faithful bless; 
Let all, who Christ confess. 

His praise employ; 
Give virtue's rich reward; 
Victorious death accord. 
And with our glorious Lord, 

Eternal joy!" 


There are various translations of the old Latin *'Veni, 
Sanctus Spiritus," of which the above is one of the niost 
beautiful and popular. The original authorship of this 
hymn, which has been of increasing use and appreciation 
in the Church for ten centuries, is somewhat in doubt. 
Hezekiah Butterworth, a very reliable authority, as- 
cribes it to ''Robert the Devout," who succeeded his father 
on the throne of France about 997. His life and character 
at least reflect the spirit of the hymn. The opposition of 
his sons in his last years added to political agitations 
brought great sorrow and much trouble upon him. Robert 
was learned, as well as musically and spiritually minded. 
He was unselfishly devoted to the Church. He himself 
served as the chorister in the old St. Denis Church. He 
would stand in his royal robes and wearing his crown 
upon his head, direct the choir at matins and vespers, and 
would himself join heartily in the singing. If this old 
hymn is his legacy to the Church, as Butterworth says it 
is, after nearly a thousand years through his hymn he still 
has an influence in the world. 


Another old hymn of the early Latin Church which has 
been widely used and is furnished in a number of transla- 
tions is the "Veni Creator Spiritus," which is ascribed to 
various authors. 


"Come, Holy Ghost, our souls inspire, 
And lighten with celestial fire; 
Thou the anointing Spirit art, 
Who dost Thy sevenfold gifts impart. 


^'Thy blessed unction from above, 
Is comfort, life, and fire of love. 
Enable with perpetual light 
The dullness of our blinded sight. 

"Anoint our heart and cheer our face 
With the abundance of Thy grace. 
Keep far our foes; give peace at home; 
Where Thou art Guide, no ill can come. 

"Teach us to know the Father, Son, 
And Thee, of both, to be but One; 
That through the ages all along. 
Thy praise may be our endless song!" 

For ten centuries this hymn has been in constant use in 
the Church. It has been ascribed to Charlemagne, St. 
Ambrose and Gregory the Great. Ekkehard, the monk 
of St. Gall, says that the groaning of a water wheel, whose 
supply of water was running short, suggested to Notker, 
who was lying awake in a nearby dormitory, the possibility 
of setting the moaning of the old wheel to music. He was 
so successful in his effort that the music of the original of 
this hymn was the result. This he sent to Charlemagne, 
who was thus led to compose the words. A strange legend, 
indeed, of the origin of a hymn the authorship of which is 
historically uncertain, but the use of which is almost 

As to the use of this hymn it is worthy of mention that 
for several centuries it has been used at the consecration 
of Anglican bishops. It is generally used at the ordination 
of Lutheran ministers in America. The Latin version of 
it is appointed for use at the consecration of a p)ope, the 
election of a Roman bishop, at the coronation of kings, as 


also at that service so strange to evangelical Christians, 
namely, the elevation and translation of saints. 

The Latin version differs very slightly, chiefly in the order 
of words, from the original version and from that which is 
commonly in use among us. Its general and wide use 
throughout the Church and in the functions just referred 
to would seem to be an illustration of the underlying unity 
of 'The Christian Church," which we confess to be "The 
Communion of Saints." 



ISHOP HEBER, who is the author of a few more 
than fifty hymns, has written the hymn which is 
undoubtedly the most majestic hymn of praise 
of the Holy Trinity that has ever been written. 


Holy, Holy, Holy! Lord God Almighty! 

Early in the morning our song shall rise to Thee; 
Holy, Holy, Holy! Merciful and Mighty! 

God in Three Persons, Blessed Trinity! 

Holy, Holy, Holy! all the saints adore Thee, 

Casting down their golden crowns around the glassy sea. 
Cherubim and Seraphim, falling down before Thee; 

Which wert, and art, and evermore shall be. 

Holy, Holy, Holy! though the darkness hide Thee, 
Though the eye of sinful man Thy glory may not see. 

Only Thou art holy, there is none beside Thee, 
Perfect in power, in love, and purity. 

Holy, Holy, Holy! Lord God Almighty! 

AU Thy works shall praise Thy name in earth and sky and 
Holy, Holy, Holy! Merciful and Mighty! 

God in Three Persons, Blessed Trinity! 

This hymn, probably suggested by the Te Deum, is, in 
reality, a splendid metrical paraphrase of Rev, 4 :8-ii. 
An eminent English educator and literary critic said of 
this hymn, "in my judgment, considering the abstract, 



difficult nature of its theme, its perfect spirituality and the 
devotion and purity of its language, it is the finest hymn 
ever written." 

Grand as the hymn is, it did not attain its full grandeur 
of sentiment and sound until it was inseparably linked 
with Dr. John B. Dyke's tune, ^'Nicaea." The name may 
mean nothing to our readers, but if so, look up the hymn 
and the tune and sing it. We have here another illustra- 
tion of the beauty and the power that go with a hymn 
sung to its proper tune. To divorce a hymn from its own 
tune, which is historic and harmonious with the meaning 
of the words, is to rob worship of one of the greatest of 
its riches. 


Lead us, heavenly Father, lead us 
O'er the world's tempestuous sea; 

Guard us, guide us, keep us, feed us. 
For we have no help but Thee; 

Yet possessing every blessing, 
If our God our Father be. 

Saviour, breathe forgiveness o'er us; 

All our weakness Thou dost know; 
Thou didst tread this earth before us, 

Thou didst feel its keenest woe; 
Lone and dreary, faint and weary, 

Through the desert Thou didst go. 

Spirit of our God, descending, 
Fill our hearts with heavenly joy; 

Love with every passion blending. 
Pleasure that can never cloy; 

Thus provided, pardoned, guided. 
Nothing can our peace destroy. 

This hymn is one of the two best known hymns of James 


Edmeston, who wrote nearly 2000 hymns. The other 
widely known product of his pen is, * 'Saviour, breathe an 
evening Blessing." 

The author was an architect and surveyor by profession. 
He was active in church work, serving for a number of 
years as a church warden. He specialized in children's 
hymns, the simplicity of his language making the hymns 
he wrote peculiarly adapted to the use of children. 

Man's need of each Person of the Trinity and the special 
work of the Three Persons of the Godhead are most beauti- 
fully set forth in the three stanzas of this prayer to the 


Come, Thou almighty King, 
Help us Thy name to sing, 

Help us to praise! 
Father all glorious, 
O'er all victorious, 
Come and reign over us, 

Ancient of days. 

Jesus, our Lord, descend; 
From all our foes defend, 

Nor let us fall; 
Let Thine almightly aid. 
Our sure defence be made; 
Our souls on Thee be stayed; 

Lord, hear our call! 

Come, Thou incarnate Word, 
Gird on Thy mighty sword, 

Our prayer attend; 
Come, and Thy people bless, 
And give Thy word success; 
Spirit of holiness. 

On us descend. 


Come, holy Comforter, 
Thy sacred witness bear 

In this glad hour; 
Thou who almighty art, 
Now rule in every heart, 
And ne'er from us depart, 

Spirit of power! 

To the great One in Three 
Eternal praises be. 

Hence, evermore! 
His sovereign Majesty 
May we in glory see, 
And to eternity 

Love and adore. 

WTio can sing this wonderful invocation of the Holy 
Trinity and not be impressed by the fact that God in His 
person and work is one Triune God? Beautiful as the 
hymn is, it is to be regretted that we cannot positively 
identify the author and give him credit for the blessing 
which his words are to believers. The hymn w^as first 
published in a tract, of w^hich neither the date nor author- 
ship can be determined. From this tract it soon was 
republished with the "Whitfield Collection" of hymns, and 
thus found its way into the various hymnals of the church. 

It is interesting to note that the national song of England, 
**God Save the King," was written and published in 1745, 
and that this hymn, wTitten to be sung to the same tune, 
appeared about nineteen years later. We sing it, however, 
as many prefer in this country, to the tune know^n as 
' 'Italian Hymn." A Rev. Spencer Madan issued it, but 
made no claim to its authorship. Some credit the words 
to Charles Wesley on the strength of internal evidence, 
but as the Wesleyan authorities argue against the crediting 


of the authorship to Wesley we shall have to continue to 
love and use it without giving credit to any author. 

Wesley's hymn to the trinity 

Charles Wesley, however, has not left us in doubt as to 
his view of the Trinity, for there have come down to us 
two hymns to the Trinity which are in great favor and wide 
use, his authorship of which is fully attested. As an ex- 
pression of our faith in the Triune God, what could be more 
expressive than the following lines? 

Wesley's trinity hymns 

"Hail! holy, holy, holy Lord, 

Whom One in Three we know; 
By all Thy heavenly hosts adored, 
By all Thy Church below. 

"One undivided Trinity 

With triumph we proclaim; 
Thy universe is full of Thee, 
And speaks Thy glorious name. 

"Thee, holy Father, we confess; 
Thee, holy Son, adore; 
And Thee, the Holy Ghost, we bless, 
And worship evermore. 

"Hail! holy, holy, holy Lord, 
Our heavenly song shall be; 
Supreme, essential One, adored 
In co-eternal Three!" 

His other hymn, which is a recognition of the Trinity, 
but somewhat more subjective in character and takes 
rather the form of an address to God, will at once be recalled 
by our quoting the opening stanza: 


"Hail, Father, Son and Holy Ghost, 
One God in Persons Three; 
Of Thee we make our joyful boast, 
Our songs we make of Thee." 

There comes down to us from the time of the Reforma- 
tion a remarkably expressive hymn through which the 
worshiper looks to the Triune God. We refer to that 
Trinity hymn by Nikolaus Decius. His German name was 
Von Hofe. The author, like Luther, was first a monk in 
the Roman Church. He had been prior of a monastery 
at Stetterburg, in Wolfenbiittel, but renounced the Roman 
faith and espoused the cause of the Protestants. At first 
he was a schoolmaster, but was later a Lutheran pastor 
at Stettin, where he died. He is widely and favorably 
known on account of the beautiful evangelical hymns 
which he composed, the most celebrated of which is his 
Trinity hymn. 

"allein gott in der hoh', sei ehr" 

All glory be to God on high, 
Who hath our race befriended! 

To us no harm shall now come nigh, 
The strife at last is ended; 

God showeth His good will to men, 

And peace shall reign on earth again; 
Oh, thank Him for His goodness. 

We praise, we worship Thee, we trust, 
And give Thee thanks forever, 

O Father, that Thy rule is just, 
And wise, and changes never; 

Thy boundless power o'er all things reigns, 

Thou dost whate'er Thy will ordains; 
Well for us that Thou rulest! 


O Jesus Christ, our God and Lord, 
Son of Thy heavenly Father, 

Oh, Thou who hast our peace restored 
And tjie lost sheep dost gather. 

Thou Lamb of God, to Thee on high 

From out our depths we sinners cry, 
Have mercy on us, Jesus! 

O Holy Ghost, Thou precious Gift, 

Thou Comforter unfailing. 
O'er Satan's snares our souls uplift, 

And let Thy power availing. 
Avert our woes and calm our dread; 
For us the Saviour's blood was shed; 

We trust in Thee to save us! 

This hymn is said to be a free rendering of the ''Gloria in 
Excelsis." It was designed to take the place of the Latin 
chant in public worship. Knowing this fact will increase 
our personal appreciation of the hymn. It is in very 
general use throughout Germany. The dying Christian 
has often made it his parting song of triumph. Mendels- 
sohn has introduced into his ''St. Paul" the chorale, which 
by some is attributed to Decius. The proper tune for 
"All Glory be to God on High" is Decius' own melody. 
Like Luther, he was quite musical and set his own hymns 
to appropriate music. Through his hymns, which soon 
became very popular, he was a valuable aid in the "Sixteenth 
Century Reformation," the complete success of which was 
undoubtedly hastened by the strong evangelical hymns 
which the reformers wrote and taught the people to sing. 

Among the beautiful hymns from the pen of Horatius 
Bonar, a minister of the Free Church of Scotland, there is 
one which as a "Child's Prayer" to the Trinity is especially 


beautiful and expressive. It is in four stanzas, the first 
of which reads as follows: 

"Holy Father, hear my cry; 

Holy Saviour, bend Thine ear; 
Holy Spirit, come Thou nigh; 
Father, Saviour, Spirit, hear." 

Christopher Wordsworth, a prolific English writer and 
theologian, in his "Holy Year," published, in 1862, a 
hymn of adoration of the Trinity, w^hich has found a 
permanent place in evangelical hymnody. The original 
hymn contained eight stanzas. We quote only the first 

"Holy, holy, holy Lord, 

God of hosts, Eternal King, 
By the heavens and earth adored! 
Angels and archangels sing, 
Chanting everlastingly 
To the blessed Trinity." 

As an appropriate ending to this story of hymns to the 
Trinity nothing could be found more appropriate than 
John Newton's paraphrase of the New Testament Benedic- 
tion, 2 Corinthians 13 : 14. As a short hymn for the close 
of worship it is very popular. It is in use in all English- 
speaking countries, and has been translated into several 
languages. It is one of the few English hymns which have 
been translated into the Latin, the Latin version being of 
not infrequent use. 

Newton's versified benediction 

May the grace of Christ our Saviour, 

And the Father's boundless love, 
With the Holy Spirit's favor, 

Rest upon us from above. 


Thus may we abide in union 

With each other and the Lord; 
And possess, in sweet communion, 

Joys which earth cannot afford. 

The doctrine and worship of the Holy Trinity, as set 
forth in song by these writers of favorite hymns, is positive 
and clear. A pastor, after the singing by his Sunday 
school of Bishop Heber's beautiful hymn, tested his school 
by questioning them concerning the message of the hymn. 
He found that the children had not only worshiped God, 
they had learned to know Him through that wonderful 
hymn, which was full of meaning even to the younger 
children. The value of the hymn as an educational 
medium as well as an act of worship was fully proved. 

This fact is worthy of consideration as we select and 
use hymns in our worship. A pleasing melody should not 
determine the use of a hymn. The sense as well as the 
sound must be considered. Hymns are a part of iastruction 
as well as of devotion. We cannot use the hymns the 
story of which we have just told without securing a new 
and a firm hold on the great mystery and vital doctrine 
of the Holy Trinity. 



Y?< YMNS have helped many Christians over the hard 
X-J. places in life. As music spurs the soldier to battle, 
W&d so also it inspires the Christian to spiritual hero- 
ism. The trials and temptations of life have 
tuned many a Christian poet's lyre. Thus out of the 
personal experience of the poets of the Church have come 
hymns which are most helpful in lifting us up and carrying 
us over the rough and hard places in the Christian path- 

Of hymns of this type, one which is at once a guide and 
an inspiration is that widely knowTi and loved hymn of 
Count Zinzendorf, which in English begins, * 'Jesus, still 
lead on." 


Jesus, still lead on, 

Till our Rest be won! 
And although the way be cheerless, 
We will follow, calm and fearless. 

Guide us by Thy hand 

To our Fatherland ! 

If the way be drear, 

If the foe be near. 
Let not faithless fears o'ertake us, 
Let not faith and hope forsake us; 

For through many a foe 

To our home we go! 


When we seek relief 
From a long-felt grief; 
When temptations come alluring, 
Make us patient and enduring: 
Show us that bright shore 
Where we weep no more! 

Jesus, still lead on, 
Till our Rest be won; 
Heavenly Leader, still direct us, 
Still support, console, protect us. 
Till we safely stand 
In our Fatherland! 

This hymn, written in 1721 by Nikolas Ludwig, Count 
Zinzendorf, is in extensive use both in German and in 
English. It has become a great favorite and is especially 
popular as a hymn for children. 

The author, Count Zinzendorf, was born at Dresden, 
May 26, 1700. He secured his education at Halle and 
Wittenberg. As a young man he was very serious and 
deeply religious. Possessed of large estates, he by force 
of his nature, sympathized with the persecuted Moravians 
and shielded and domiciled many of them on his estate. 
He later united with the Brethren's Church, founded the 
settlement of Herrnhut as a refuge, and ultimately became 
a Moravian minister and bishop. 

It is said of Zinzendorf that his consecration to the 
religious life was simultaneous with his study of the ''Ecce 
Homo" in the Dusseldorf Gallery. This, as our readers 
know, is a wonderful painting of Jesus wearing the crown 
of thorns. It is said that as Zinzendorf looked at this pic- 
ture, noting the sad face and blood-red drops and read 
the superscription, *'This have I done for thee; \vhat hast 
thou done for me?" he instantly took as the motto 


of his life, "I have but one passion, and that is He and only 
He." It is only another way of saying as Paul the apostle 
said, 'Tor me to live is Christ." 

Zinzendorf wrote his first hymn when he was only twelve 
years old. He wrote his last one in 1760. Between these 
dates he wrote more than two thousand hymns. Few, 
however, have lived. His best hymns were among his 
earlier productions. In Europe, perhaps, his most widely 
used hymn is "Jesu, geh voran," a hymn which is well and 
favorably knowTi in English in Miss Borthwick's transla- 
tion as given above. 

John Wesley has translated for us another well known 
and widely used hymn by Zinzendorf, which, being a 
hymn of faith and justification, the foundation principles 
of the true Christian life, is a most valuable contribution 
to evangehcal hymnody. This hynm was written in 1739. 

Wesley's translation of zinzentdorf's hymn 

Jesus, Thy Blood and Righteousness 
My beauty are, my glorious dress; 
'Midst flaming worlds, in these arrayed, 
With joy shall I lift up my head. 

Bold shall I stand in Thy great day, 
For who aught to my charge shall lay? 
Fully through these absolved I am 
From sin and fear, from guilt and shame. 

This spotless robe the same appears, 
When ruined nature sinks in years; 
No age can change its constant hue; 
Thy Blood preserves it ever new. 


Oh, let the dead now hear Thy voice; 
Now bid Thy banished ones rejoice! 
Their beauty this, their glorious dress, 
Jesus, Thy blood and righteousness! 

When from the dust of death I rise, 
To claim my mansion in the skies, 
Even then this shall be all my plea, 
''Jesus hath lived and died for me." 

A hymn which is a prayer for guidance in the Christian 
life which claims two men by the name of Williams as its 
author comes to us from the musical Welsh people. We 
refer to the hymn, ''Guide me, O Thou great Jehovah." 
The hymn was originally written in Welsh by the Rev. 
William Williams in 1745. His fellow-countryman, the 
Rev. Peter Williams, translated the hymn into English, 
making many alterations and substitutions in the second 
and third verses. Thus only the first stanza belongs in- 
disputably to the original Williams; but as the Rev. 
William Williams is said to have been consulted and to 
have approved the alterations made by the Rev. Peter 
Williams, the authorship is rightly considered as a mutual 
work of the two Welsh clergymen. 


Guide me, O Thou great Jehovah, 
Pilgrim through this barren land; 

I am weak, but Thou art mighty, 
Hold me with Thy powerful hand; 

Bread of heaven, 
Feed me till I want no more! 


Open now the crystal fountain, 

Whence the healing streams do flow; 

Let the fiery, cloudy pillar, 

Lead me all my journey through: 

Strong Deliverer, 
Be Thou still my Strength and Shield! 

When I tread the verge of Jordan, 

Bid my anxious fears subside: 
Death of death and hell's Destruction, 

Land me safe on Canaan's side: 
Songs of praises 

I will ever give to Thee. 

Among modern hymns praying for guidance one of the 
most popular is Cardinal Newma,n's 'Tead Kindly Light." 
It is particularly popular with those who have not publicly 
accepted the leadership of theological authority. While it 
is a hymn which may induce to resignation, it scarcely 
leads on to victory. A leading authority on hymns in the 
Methodist Church says of it, "I have not found it a help- 
ful hymn for dehverance or a strengthening hymn in 
distress and conflict." 

We will appreciate this criticism when we know that 
Dr. Benson, the great American authority on hymnology, 
says of Newman, ''He was an imaginative boy, and so 
superstitious that he used constantly to cross himself 
when going into the dark." This habit of the author's 
mind is reflected in the lines of the hymn which is a re- 
flection of his religious musings. 

An Episcopal clergyman, during the agitations over the 
High Church movement, through the influence of a Roman- 
ist friend by the name of Froude, Newman's Protestant 
faith gradually weakened. In his unrest he traveled to 
the Mediterranean coast, and while on the way to Marseilles 


he wrote this hymn. It was just shortly before he entered 
the Roman Catholic Church, where be became a cardinal. 
William T. Stead well says: *'It is somewhat hard for 
the stanch Protestant to wax enthusiastic over the invoca- 
tion of a 'Kindly Light,' which led the author straight into 
the arms of the Scarlet Woman of the Seven Hills." 
We fancy that the author was correct when he said, ''It 
was not the hymn, but the tune that has gained the popular- 
ity." Dr. Dykes wrote the tune and he is a master. 

As the result of a meditation on the Twenty-third 
Psalm while a young minister preaching in Philadelphia, 
Professor Gilmore wrote a hymn which expresses much 
more confidently personal faith in divine guidance. He 
wrote the verses after a week-day evening talk, and handed 
them to his wife. She without his knowledge sent the 
lines to The Baptist Watchman and Reflector for publication. 
It was a number of years later that in leafing through 
a hymnal in the Second Baptist Church in Rochester, N. Y., 
he was surprised to discover this hymn, credited to himself 
and appearing as a hymn of the church. It has since 
found its way into a number of the newer American hymn 


He leadeth me! O blessed thought! 

Oh, words with heavenly comfort fraught! 

Whate'er I do, where'er I be, 

StUl 'tis God's hand that leadeth me. 


He leadeth me! He leadeth me! 
By His own hand He leadeth me! 
His faithful follower I would be, 
For by His hand He leadeth me. 


Sometimes 'mid scenes of deepest gloom, 
Sometimes where Eden's bowers bloom, 
By waters calm, o'er troubled sea, 
Still 'tis His hand that leadeth me. 

I^ord, I would clasp Thy hand in mine, 
Nor ever murmur nor repine; 
Content, whatever lot I see. 
Since 'tis my God that leadeth me. 

And when my task on earth is done, 
When, by Thy grace, the victory's won, 
E'en death's cold wave I will not flee, 
Since God through Jordan leadeth me. 

A hymn which is a great favorite and which is finding 
its way into many collections is a hymn written by a 
woman. Keeping before the Christian the nearness of 
the heavenly goal as it does, its musical message should 
strengthen faith, perfect consecration and quicken zeal in 
all who sing it. We refer to that hymn by Phoebe Carey, 
which, according to her ow^n statement, she wTote on a 
Sunday morning in 1852 on her return home from 

The influence of a hymn on the life of a person is beauti- 
fully illustrated by a story which is brought to us out of 
China. A young man, just entering life, was in an opium 
den in China. He was gambling with an American. The 
gambler, while he showed e\'idence that he had once been 
a man of culture, had a hard and bitter face. The young 
man leaned back in his chair and waited for the gambler 
to shuffle the cards. Unconsciously he began to hum to 
himself Phoebe Carey's hymn. 

As he hummed he suddenly became conscious that the 
gambler had dropped the cards and was staring at him with 


wild, haggard eyes. With white lips he exclaimed, ''Why- 
do you sing that song? Why do you dare sing that 

The young man started. With a mental effort he re- 
called what he had been unconsciously singing, and stam- 
mered, "My — why, mother and the girls sing that at home, 
and it was just running through my head." 

The gambler sat silent for a few minutes, then he tore 
up and threw away the cards, saying to the young man 
with whom he had been playing, ''Years ago I had a 
beautiful home in New York — a lovely wife and a wee girl, 
the idol of her heart and mine. My wife sang wonderfully, 
and each evening she used to sing that song you were just 
now humming. When our little girl was too small to 
talk she used to jump up and down in my arms and try 
to hum the air when her mother sang the words. Then, 
just as she was old enough to really sing it with her mother, 
she died. They sang 'her song,' as she called it, at her 
funeral. A few months later my wife died, and again 
'her song' was sung. I sold my home and became a 
wanderer, a trickster, a gambler. I intended to fleece 
you out of every penny you had. Now go; I am done 

Some years later a handsome man called on Miss Carey 
and told her of how the humming of this hymn had 
prevented him from becoming a gambler in China. The 
older man wrote a letter to the Rev. Dr. Russell H. Con- 
well and told the same story, and that through the humming 
of this hymn he had been led to renounce the life of a 
gambler and become a hardworking Christian, who had, 
by the help of God, been able to rehabilitate himself in 
the world of respectable and honorable people. 

How carefully we should choose and how thought- 


fully we should use the hymns which may have such power 
for good in the lives of Christian people! 

PHGEBE Carey's hymn of devotion 

One sweetly solemn thought 

Comes to me o'er and o'er: 
I am nearer my home today 

Than e'er I've been before: 

Nearer my Father's house, 

Where many mansions be, 
Nearer the throne where Jesus reigns, 

Nearer the crystal sea. 

Nearer the bound of life 

Where burdens are laid down, 

Nearer lea\-ing the cross of grief, 
Nearer gaining the crown. 

But l>ing dark between, 

And winding through the night. 

Flows on the deep and unknown stream, 
That leads me to the light. 

Jesus, perfect my trust, 

Strengthen my hand of faith, 

And be Thou near me when I stand 
Upon the shore of death. 



USIC inspires the soldier and encourages him as he 
goes to battle. Evangelists are very particular 
in selecting the hymns which are to be sung, 
especially those which lead up to and which follow 
their sermons. The psychological effect of wisely chosen 
music is marked. Herein, Hes the value of music as an 
incentive to Christian service. Assuming, of course, that 
words and music are in harmony, the hymn is a most potent 
factor in the development of Christian efficiency. Recog- 
nizing this principle and realizing the natural effect of 
proper hymns, there is every reason to make the most 
careful choice of the hymns we use. This is especially 
the case when we are endeavoring to lead Christians to 
render greater and better Christian service. 

One of the first hymns of this type of which we think is 
Charles Wesley's hymn, ^*A charge to keep I have." 
The occasion of its writing is not recorded. It was written 
in 1762 and is in very general use in the hymn books of the 
various denominations. 

Wesley's hymn of service 

A charge to keep I have, 

A God to glorify; 
A never-dying soul to save. 

And fit it for the sky. 

To serve the present age, 

My calling to fulfill; 
O may it all my powers engage 

To do my Master's will! 


Arm me with zealous care, 

As in Thy sight to live; 
And O, Thy servant, Lord, prepare, 

A strict account to give! 

Help me to watch and pray, 

And on Thyself rely, 
Assured, if I my trust betray, 

I shall for ever die. 

Among the hymns by Philip Doddridge which have at- 
tained widest popularity is one which is pre-eminently a 
hymn of Christian ser\'ice. We refer to his hymn begin- 
ning, "Ye servants of the Lord." It was not published 
until after his death, appearing first in a posthumous 
edition of his hymns published by J. Orton. It was 
given the title, "The Active Christian." The hymn, 
which is in wddest use, is, as a rule, published as originally 
written by Dr. Doddridge, an evidence of its poetic merit 
and hymnological value. Its thoughtful use cannot fail 
to encourage Christian activity. 

Doddridge's "the active christian" 

Ye servants of the Lord, 

Each in his office wait 
Observant of His heavenly word. 

And watchful at His gate. 

Let all your lamps be bright, 

And trim the golden flame; 
Gird up your loins, as in His sight. 

For awful is His Name. 

Watch! 'tis your Lord's command; 

And while we speak, He's near. 
Mark the first signal of His hand, 

And ready all appear. 


O happy servant he, 

In such a posture found! 
He shall His Lord with rapture see, 

And be with honor crowned. 

A hymn which is quite useful and suggestive, the first 
stanza of which is very frequently, in violation of correct 
liturgical usage, sung as the offerings are being placed upon 
the altar, has come to us from the pen of William Walsham 

how's hymn of service 

We give Thee but Thine own, 

Whate'er the gift may be: 
All that we have is Thine alone, 

A trust, O Lord, from Thee. 

May we Thy bounties thus 

As stewards true receive. 
And gladly, as Thou blessest us. 

To Thee our first fruits give. 

O hearts are bruised and dead. 

And homes are bare and cold. 
And lambs, for whom the Shepherd bled, 

Are straying from the fold! 

To comfort and to bless, 

To find a balm for woe, 
To tend the lone and fatherless, 

Is angels' work below. 

The captive to release, 

The lost to God to bring, 
To teach the way of life and peace — 

It is a Christ-like thing. 

And we believe Thy word, 

Though dim our faith may be; 
Whate'er we do for Thine, O Lord, 

We do it unto Thee. 


This is one of Bishop How's best known hymns. A critic 
in speaking of it has said it is a hymn which has attained 
foremost rank because it is such a simple, unadorned and 
enthusiastically practical hymn. Looked at from this 
point of view we will quickly note its merit and learn to 
use it that we may catch and spread the spirit of service 
which it breathes. 

Perhaps one of the hymns which in respect to compre- 
hensiveness of service excels all others has come from the 
pen of a woman who has added some valuable contributions 
to English Evangelical hymnody. We refer to Frances 
Ridley Havergal, who in 1874 wrote the hymn to which 
we refer. It is a hymn which might aptly be styled 

"a hymn of complete consecration' ' 

Take my life and let it be 
Consecrated, Lord, to Thee; 

Take my moments and my days, 
Let them flow in ceaseless praise. 

Take my hands and let them move 
At the impulse of Thy love; 

Take my feet, and let them be 
Swift and beautiful for Thee. 

Take my voice, and let me sing 
Always, only, for my King; 

Take my lips, and let them be 
Fill'd with messages from Thee. 

Take my silver and my gold, 
Not a mite would I withhold; 

Take my intellect, and use 

Every power as Thou shalt choose. 


Take my will and make it Thine; 

It shall be no longer mine; 
Take my heart, it is Thine own; 

It shall be Thy royal throne. 

Take my love; my Lord I pour 
At Thy feet its treasured store; 

Take myself, and I will be, 
Ever, only, all for Thee. 

This is a characteristic hymn from the pen of Miss 
Havergal, who has sometimes been called "The Theodocia 
of the 19th Century." She was the daughter of a Church 
of England clergyman, born at Astley, Worcestershire, 
England, December 14, 1836. The type of her hymns is 
interesting and is by some accredited to an incident of 
her girlhood. When quite a young girl she visited the art 
gallery of Dusseldorf, Prussia, where she was attending 
school. She saw and was deeply impressed by the great 
picture of the head of Christ, the "Ecce Homo." The 
sight of this picture affected her much as it did Count 
Zinzendorf , and apparently had much to do with the early 
experience of this gifted girl, and, in fact, it evidently in- 
fluenced her entire life. One of the immediate results of 
her viewing the picture is one of her earliest hymns, which 
inspired by the "Ecce Homo," flowed from her heart and 
pen. Here is the verse — 

'T gave My life for thee, 

My precious blood I shed, 
That thou might 'st ransomed be 

And quickened from the dead. 
I gave My life for thee: 

What hast thou given for Me?" 


If the viewing of a picture could thus mould a life and 
move a pen to write so beautifully and with such perfect 
consecration, is it not important that we should care- 
fully choose the pictures we \iew and the hymns we sing? 
Church art as w^ell as evangelical hymnody are worthy 
of more thoughtful study than is ordinarily accorded 


OAYBREAK and sunrise are inspiring. Morning 
with its beauties, its blessings and its privilesres 
k^mM should make any observing person think of God 
and inspire him to worship. This was the case 
with a German nobleman, Friederich Rudolph von Canitz, 
a legal counselor at Berlin, who was a genius and a man 
distinguished for worldly success and for Christian holiness. 
It is said of him that on the last morning of his life, as 
day was breaking, he requested that he be drawn to the 
window of his sick-chamber that he might look once more 
upon the rising sun. After looking steadily at it for a time, 
he exclaimed, "Oh, if the appearance of this earthly thing 
is so beautiful and quickening, how much more shall I be 
enraptured at the sight of the unspeakable glory of the 
Creator Himself!" That was the feeling of a man whose 
sense of earthly beauty had all the keenness of a poet's 
enthusiasm, and who, in his greatest health and vigor, 
preserved the consciousness that his life was hid with 
Christ in God. Is there any wonder that out of this 
deeply pious heart and this poetic mind of a soul that 
loved nature and let it teach of the God whom he loved 
supremely there should have been born a hymn which is at 
once a call to service, a prayer for guidance and blessing 
and a hymn of praise to the divine Creator, a real doxology 
to the Triune God? All this we find in von Canitz* 





Come, my soul, thou must be waking; 
Now is breaking 

O'er the earth another day; 
Come to Him who made the splendor, 
See thou render 

All thy feeble strength can pay. 

Gladly hail the sun returning; 
Ready burning 

Be the incense of thy powers; 
For the night is safely ended; 
God hath tended 

With His care thy helpless hours. 

Pray that He may prosper ever 
Each endeavor, 

When the aim is good and true; 
But that He may ever thwart thee, 
And convert thee. 

When thou evU wouldst pursue. 

Only God's free gift abuse not, 
Light refuse not, 

But His Spirit's voice obey; 
Thou \\ith Him shalt dwell, beholding 
Light enfolding 

All things in unclouded day. 

Glory, honor, exaltation, 

Be to the Eternal One; 
To the Father, Son and Spirit, 
Laud and merit, 

While unending ages run. 

In the translation which we have given above this hymn 
was published in England in 1838. It has been growing in 


favor ever since. This is very natural when we note 
the devout trust and deep piety which are so beautifully 
expressed in the hymn which von Canitz wrote as the 
deep feeling of a soul that loved God's mornings. 

Another most expressive morning hymn which has come 
to us out of the rich storehouse of German hymnody is the 


Jesus, Sun of Righteousness, 

Brightest beam of love divine, 
With the early morning rays 

Do Thou on our darkness shine, 
And dispel with purest light 
All our long and gloomy night! 

Like the sun's reviving ray, 

May Thy love, with tender glow, 

All our coldness melt away, 
Warm and cheer us forth to go, 

Gladly serve Thee and obey 

All our life's short earthly day! 

Thou our only Hope and Guide! 

Never leave us nor forsake; 
In Thy light may we abide 

Till the endless morning break; 
Moving on to Zion's hill, 
Onward, upward, homeward still! 

Lead us all our days and years 
In Thy strait and narrow way; 

Lead us through the vale of tears 
To the land of perfect day, 

Where Thy people, fully blest. 

Near Thy throne for ever rest. 

Possibly due to the peculiarity of the meter, this hymn 


is not as widely used as its merit would warrant us to 
expect. Yet there have been more than a dozen transla- 
tions of it published, and when it is once learned it is 
always loved. This is natural, for it is so simple and trust- 
ful, prayerful and hopeful that it cannot fail to appeal 
and inspire. 

The author of this hymn. Christian Knorr von Rosen- 
roth, graduated at both Leipzig and Wittenberg Univer- 
sities. He traveled extensively, and through an acquain- 
tance with an Armenian prince became interested in 
oriental languages. He was also an eminent scientist. 
But learning did not prevent the development of his native 
German piety, which found expression in about seventy 
hymns, which were pronounced "truly pious and spiritual." 
Knorr 's morning hymn first appeared in 1684. The 
translation which we have given above is a free translation 
from the original, made by Miss Jane Borthwick in 1853. 

It might be noted in this connection that Miss Borth- 
wick, who was born at Edinburg, Scotland, April 9, 18 13, 
has served the English-speaking Church well by her 
translation of "German Hymns from the Land of Luther." 
Her book of translations has gone through a number of 
editions. It contains relatively a large proportion of 
hymns for the Christian life and reflects that wholesome 
type of piety which is characteristically German. 

A morning hymn which is given first place in the estimate 
of the great majority of people, and rightly so, is Bishop 
Ken's morning hymn. Written in 1695 ^^^ rewritten 
in 1709 with certain variations, the original hymn has 
fourteen stanzas. On account of its length it is sometimes 
divided, and in many hymnals only selected verses are 
taken. There are few books today in which it is not found. 


The last stanza, which is familiarly called the Long Meter 
doxology, is the most widely used short hymn in the world. 


Awake, my soul, and with the sun 
Thy daily stage of duty run; 
Shake off dull sloth, and joyful rise 
To pay thy morning sacrifice. 

Wake and lift up thyself, my heart, 
And with the angels bear thy part, 
Who all night long unwearied sing 
High praise to the eternal King. 

All praise to Thee, who safe hast kept. 
And hast refreshed me while I slept; 
Grant, Lord, when I from death shall wake, 
I may of endless life partake! 

Lord, I my vows to Thee renew; 
Disperse my sins as morning dew; 
Guard my first springs of thought and will. 
And with Thyself my spirit fill. 

Direct, control, suggest, this day, 

All I design, or do, or say; 

That all my powers, with all their might. 

In Thy sole glory may unite. 

Praise God, from whom all blessings flow; 
Praise Him, all creatures here below; 
Praise Him above, ye heavenly host; 
Praise Father, Son, and Holy Ghost. 

The author of this hymn led a troubled and eventful 
life. He lived during the reign of King Charles II of 
England. As those who know history well know Charles 



II had little interest in hymns or in anything religious. 
He was a dissipated man. It is told by his biographers that 
Bishop Ken was not afraid of the king and that he again 
and again courageously reproved him. The king was 
not annoyed by the plainness of speech of the bishop, 
whom he proverbially called "the good little man." At 
chapel time he was in the habit of saying, ''I must go in 
and hear Ken tell me of my faults." 

Bishop Ken's courage in denouncing immorality is seen 
in his refusal to admit Nell Gw^nine to his house at the 
command of King Charles, who so admired his courage 
that instead of punishing him he appointed him Bishop of 
Bath and Wells. But he did not always fare so well. He 
was one of the seven bishops who were imprisoned under 
James the Papist for his opposition to the king's religion. 
He w^as deprived of his bishopric by William III and spent 
his remaining days living quietly in a house loaned to him 
by a friend. He was seventy-four years old when he 
died. At his owa request "six of the poorest men in the 
parish carried him to his grave." 

It will give a new interest and a deeper meaning to 
Bishop Ken's morning hymn for us to know that he used 
to sing it to his own accompaniment on the lute every 
morning, and that when he died at his request he was 
buried under the east window of the chancel of Frome 
Church, the services being held at sunrise. His mourning 
friends sang, in the first light of the dawning day, 

"Awake, my soul, and with the sun 
Thy daily stage of duty run." 

To Bishop Ken, whose character, Macauly says, ap- 
proached as nearly as human infirmity permits to the ideal 
perfection of Christian virtue, the passing from earth was 


the entrance into larger life and fuller service. Hence 
the appropriateness of singing his daily morning hymn 
prayer at his funeral as suggestive not only of the bishop's 
future life, but as an incentive to their own closer and more 
consecrated life. 

The morning and evening hymns of Bishop Ken first 
appeared in a manual of prayers for the use of the students 
of Winchester College. They were accompanied with 
an injunction from the writer that they should be sung 
devoutly by the scholars in their chambers morning and 
evening. A heeding of this injunction of the singing 
preacher of a former generation would quicken spiritual 
life by developing a stronger and more intense personal 
religion. Too many are contented with a pew edition of 
the hymns which are sung in the sanctuary, and forget 
that a book of worship is a manual which may be most use- 
ful in private worship. With this thought in mind we will, 
as we repeat the selected verses of this old hymn, see how 
personal it is and how it individualizes our communion 
with God. 

There is a most beautiful morning hymn for the Httle 
ones which was written by a Methodist clergyman, the 
Rev. Dr. Thomas Osmond Summers. The language, the 
rhythm, as well as the tune to which it is ordinarily sung, 
make this hymn peculiarly a hymn for the little folks. 


The morning bright, 
With rosy light, 

Hath waked me from sleep; 
Father, I own 
Thy love alone, 

Thy little ones doth keep. 


All through the day, 
I humbly pray, 

Be Thou my Guard and Guide; 
My sins forgive, 
And let me Hve, 

Blest Jesus, near Thy side. 

Oh, make Thy rest. 
Within my breast, 

Great Spirit of all grace; 
Make me like Thee, 
Then shall I be 

Prepared to see Thy face. 

To Father, Son 
And Spirit, One, 

Great God whom I adore, 
All glory be. 
My God, to Thee 

Both now and evermore. 

With the exception of the doxology, which was written 
and added to the hymn by Godfrey Thring in 1882, 
the author, Rev. Dr. Summers, tells us an interesting 
story of when and how he wrote this ''Morning Hymn." 
He wrote the verses for his first child, a little girl, in Janu- 
ary, 1845. He says that when she was about a year old 
he was going down the Tombigbee River in a small river 
steamer. ''In the quiet morning, riding on the river and 
thinking of my little girl, I wrote a morning hymn for 
her on the back of an envelope. When I reached Mobile 
I transcribed it and sent it to her at Tuskaloosa." This 
was the origin of this morning hymn for the little ones. 
Several years later, as editor of the Southern Christian 
Advocate, Dr. Summers published it anonymously in the 
"Children's Page." It was T\idely copied and soon found 
its way into the Sunday school and church hymnals. 


Dr. Summers wrote a twin hymn to this called 'The 
Daylight Fades." It is the children's evening hymn, and 
was written for his second daughter in 1847. Written 
for the children by a father who loved children, and who 
was a man who combined poetic talent with a personal 
experience of true Christian piety, his hymns, when the 
story of their origin is known, will appeal still more to the 
little folks, who should be taught not only the words, but 
the atmosphere and the purpose of the hymns which they 
sing. When they catch the spirit that is in them their 
singing will be as music to their own souls, developing the 
Christian harmony of a beautiful life for them through 
their use. 

He is to be pitied who does not love good hymns. It 
has been claimed by some that Luther did as much for the 
Reformation by his hymns as by his sermons. Certainly 
the good old hymns of the Reformation were a power. 
The great hymns which are so widely used and so popular 
today are like sweet flowers along the Christian's pathway, 
adding beauty and sweetness to the earthly way toward the 
heavenly city. They are more than that when we come 
to know their content and intent. Through the story of 
their origin and use they become a powerful factor in sup- 
porting and spreading the doctrines of the Church. They 
help materially in molding the individual Christian life. 
The choice and use of hymns is important in the conduct 
of worship. 


J^^ HE evening vespers, whether they be held in the 
^mJ church, in some institutional chapel, in some 
S^» family circle, or in the closet of the individual 
Christian, lend themselves most beautifully to the 
cultivation of the devotional life. It is a great pity, there- 
fore, that the strenuousness of present-day living and the 
spirit of worldliness and pleasure-seeking have brought 
into disuse the daily evening family worship, which was so 
general a generation ago. We preface our consideration 
of a few favorite evening hymns with this thought, because 
a large number of those hymns had their origin in an effort 
to provide for the needs of vesper worshipers. Possibly 
calling attention to the fact may result in the setting up of 
a few more family altars in Christian homes. 

As the evening draws on and the light seems to melt into 
darkness, how appropriate are the words of the evening 
hymn of Bishop George W. Doane! 


Softly now the light of day 
Fades upon my sight away; 
Free from care, from labor free, 
Lord, I would commune with Thee! 

Thou whose all-pervading eye 
Naught escapes without, within, 

Pardon each infirmity, 
Open fault, and secret sin. 


Soon for me the light of day- 
Shall forever pass away; 
Then, from sin and sorrow free, 
Take me, Lord, to dwell with Thee! 

Thou who, sinless, yet hast known 

All of man's infirmity; 
Then from Thine eternal throne, 

Jesus, look with pitying eye. 

This hymn, which was published in 1824, is one of the 
few American hymns which has found a place in hymn 
books across the sea, being published in several English 

The author was born at Trenton, N. J. He was ordained 
an Episcopal rector in 182 1. After serving in several 
places, in 1832 he became bishop of New Jersey. This 
hymn heads the list of his hymns. While he ranked high 
as one of the great prelates of his church, he will go down 
in history as a poet of more than average merit, his poetic 
fame resting principally upon his hymns. 

We venture the assertion, without fear of being ques- 
tioned, that the most widely known and the general favorite 
evening hymn is John Keble's ''Sun of My Soul, Thou 
Saviour Dear." It has been aptly called 

"the masterpiece of evensong" 

Sun of my soul, Thou Saviour dear, 
It is not night if Thou be near; 
Oh, may no earth-born cloud arise 
To hide Thee from Thy servant's eyes. 

When the soft dews of kindly sleep 
My wearied eyelids gently steep. 
Be my last thought, how sweet to rest 
Forever on my Saviour's breast! 


Abide with me from morn till eve, 
For without Thee I cannot live; 
Abide with me when night is nigh, 
For without Thee I dare not die. 

If some poor wandering child of Thine 
Have spurned today the voice divine, 
Now, Lord, the gracious work begin; 
Let him no more lie down in sin. 

Watch by the sick; enrich the poor 
With blessings from Thy boundless store; 
Be every mourner's sleep tonight. 
Like infant's slumbers, pure and light. 

Come near and bless us when we wake, 
Ere through the world our way we take; 
Till in the ocean of Thy love 
We lose ourselves in heaven above. 

It is impossible to join with Christian people in the sing- 
ing of this hymn without feeling that we are being brought 
into close fellowship w4th Jesus. The song lifts us into 
an atmosphere of sweetest communion with our blessed 

A thoughtful use of the hyinn reveals something so 
exquisitely tender in the sacred lines — it brings Christ 
so near — that we naturally feel that the author of such a 
hymn must have been not only a scholar and a poet, but 
a man of deepest piety. 

In this expectation we are not disappointed. The 
author, the Rev. John Keble, was a man of highest scholarly 
attainments, a true poet, or he never could have produced 
that beautiful and popular book, 'The Christian Year." 
These qualifications were ennobled and purified by the 
power of Christian faith to a rare degree. ''Sweetness and 
light harmoniously blended in the character and life of 


Keble to a marked degree." This explains why he sang 
so much that so many other Christians love to sing. It 
also suggests to us the value of going back of mere words 
and melody to find the soul of the hymns we use in our 
worship. If we succeed in leading only a few the 
hymns of the Church in this way, we will be fully repaid 
for the pleasure we have had in searching for the story of 
the origin and use of a few of our favorite hymns. 

Notwithstanding the very wide use and great popularity 
of this hymn, strange though it may seem, the immediate 
circumstances under which it was inspired are not known. 
Whether some incident or occasion called it forth from the 
poetic soul of the author, or whether it was merely a 
natural outflow of his personal spiritual consciousness, 
makes little difference. The fact is, it breathes the spirit 
of a man who lived in sweet communion wdth Christ. 
It expresses so beautifully and so fully the personal feeling 
of one who lives in most intimate fellowship with the 
Saviour that we recognize in its wide popularity a testi- 
mony to the fact that there are multitudes of devoted 
Christian people who enjoy communion with Christ and 
place reliance upon His nearness. 

This explains why, while Keble's '' Christian Year'* 
as a book has been widely published and in editions as 
large as a hundred thousand copies, this hymn is known 
not only to the thousands who have and enjoy the book, 
but it is known to millions and loved by them. The music 
of its verse is familiar in every nook and corner of the 
English-speaking world. This fact gives a deep and a 
personal meaning to our confession in the creed of our 
faith in ''the communion of saints." They have such 
communion through their common and close communion 
with the Saviour Himself. 


From a wild and tempest-tossed sea there comes a touchr 
ing story that associates with this hymn. As dusk came 
on in a wild sea a gallant ship went to her doom. A few 
women and children had been placed in a boat, but broke 
loose and drifted away, at the mercy of the waves, with 
no one to row or to guide. Earlier in the evening, before 
the darkness had quite settled down, brave men on the 
shore had seen their plight and started to the rescue. In 
spite of the tempest they hoped to save the lives of the 
imperiled ones, but it became so dark they could see noth- 
ing and could not find the ship. After a fruitless search 
they turned by the compass to head for the shore, when, 
far out on the water, and above the wail of the wind and 
storm, they heard a woman's clear voice singing^ 

"Sun of my soul, Thou Saviour dear. 
It is not night if Thou be near." 

Turning toward the sound and bending to the oar, the 
work of rescue was quickly accomplished. The singing of 
Keble's hymn undoubtedly saved this boatload of human 
lives. Certainly before morning they would have drifted 
beyond human help or have been dashed to pieces on the 

Among the finest evening hymns we know is one the 
use of which in English is somewhat limited, although 
there are several excellent translations. We believe that 
the hymn will in time be a general favorite among those 
worshiping in English, as it is today a universal favorite 
with German people and German congregations. We 
refer to the hymn, simple and homely in style, which 
yet has taken fir«mest hold of the Germans' hearts, 


Gerhard's nun ruhen alle waelder 

Now hushed are woods and waters, 
At rest toil's sons and daughters, 

The world a-slumber lies: 
But thou, my soul, awake thee, 
To prayer and song betake thee. 

And bid their grateful incense rise. 

Sun, whither hast thou vanished? 
The night day's foes has banished 

At length each lingering beam; 
But Jesus now draws nearer, 
A better Sun, and dearer, 

Sheds through my heart a warmer gleam. 

The day has fled defeated — 
In heaven's deep azure seated, 

Stars shine, a golden band; 
I, too, on that bright morrow. 
Called from this vale of sorrow, 

Like them, in heaven with God shall stand. 

To rest my body hasteth, 
Aside its garments casteth, 

Types of our mortal stata; 
When I put off this mortal. 
At death's mysterious portal, 

Christ's pure white robes my soul await. 

This hymn has been pronounced one of the finest of 
Paul Gerhard's hymns. Considering the number and the 
beauty and evangelical richness of the hymns of Gerhard, 
this is high praise. Of this hymn Baron Bunsen wrote, in 
1830: "Ever since its publication this hymn has been one 
of the most beloved and best known hymns of devout 
meditation over the whole of Germany. Experienced 
and conceived in a truly childlike, popular spirit, it unites 


with rare naive simplicity of expression, a loftiness of 
thought, a depth of Christian experience, a grace of 
poetry, so that for this union of qualities it must rank 
as an enduring masterpiece among hymns." 

This hymn, which we have furnished in the English 
translation of Frances Elizabeth Cox, may, perhaps, be 
raised in our estimation by the knowledge of the fact that 
it was a special favorite of the great German poet, Schiller, 
who learned to love it from his mother. This brief glimpse 
into the early home of the poet is a suggestion of the Ger- 
man home life, which, perhaps, accounts for the fact that 
there are so many more German hymns than there are 
English ones. It is a part of the German home life to 

A hymn which is primarily a hymn for the evening of 
life, but which has come to be a general favorite as a vesper 
hymn, is the "Swan Song," of that young English clergy- 
man and hymn- writer, the Rev. Henry Francis Lyte. 
The author of this hymn was a Scotchman, born at Felso, 
Scotland, June i, 1793. 

He was in failing health, and, having been ordered to 
leave England, where he had serv^ed for a number of years 
as rector at Lower Brixham, on the shores of Torbay, 
England, he preached his farewell sermon on Sunday, 
September 5, 1847. Toward evening of the same day he 
walked out along the shore and witnessed the sun setting 
in red and gold. It was a most beautiful and peaceful 
evening. Returning and meditating, he sat down at his 
desk and wrote. Presently he placed in the hands of a 
member of his family the manuscript of the hymn, "Abide 
With Me; Fast Falls the Eventide." In the prime of life, 
he had hoped to live, but if this privilege was not granted 


him he prayed that he might be able to do something 
which would prove of lasting benefit to the Church. 
His prayer was answered, for in this ''Swan Song" was his 
benediction, for he never preached again. The following 
day he started for the South, but did not live to complete 
his journey. He died in France, his remains being buried 
in the English cemetery in Nice. His grave is the Mecca 
of many pilgrims, some of whom testify that this hymn has 
been of greatest spiritual help to them. 

Knowing the story of this hymn, that it was the very 
last work of an earnest evangelical minister, we read new 
meaning in its lines, and hereafter when we sing it we 
will necessarily be drawn upward and closer to God and 
will feel the certainty of the eternal and the need of a 
Saviour as we sing the closing stanza, which is worthy 
of being made a part of our daily evening devotions. 
We, most of us, have the words written upon our minds, 
but we will not object to having them appear on the 
printed page. 


Abide with me! fast falls the eventide; 
The darkness deepens; Lord, with me abide! 
When other helpers fail and comforts flee, 
Help of the helpless, abide with me! 

Swift to its close ebbs out life's little day; 
Earth's joys grow dim, its glories pass away; 
Change and decay in all around I see; 
O Thou who changest not, abide v.ith me! 

Not a brief glance I beg, a passing word, 
But as Thou dwell'st with Thy disciples, Lord, 
Familiar, condescending, patient, free, 
Come, not to sojourn, but abide with me. 


Come not in terrors as the King of kings, 

But kind and good, with heahng in Thy wings; 

Tears for all woes, a heart for every plea; 

Friend of sinners, thus abide with me! 

Thou on my head in early youth didst smile, 
And, though rebellious and perverse meanwhile, 
Thou hast not left me, oft as I left Thee; 
On to the close, O Lord, abide with me! 

1 need Thy presence every passing hour; 

What but Thy grace can foil the tempter's powxr? 
Who, Hke Thyself, my guide and stay can be? 
Through cloud and sunshine, abide with me! 

I fear no foe, with Thee at hand to bless; 
Ills have no weight, and tears no bitterness. 
Where is death's sting? where, grave, thy victory? 
I triumph still, if Thou abide with me! 

Hold Thou Thy cross before my closing eyes. 
Shine through the gloom, and point me to the skies; 
Heaven's morning breaks, and earth's vain shadow's flee; 
In life, in death, Lord, abide with me! 

There is another evening hymn which has been pro- 
nounced one of the best evening hymns in the English 
language, which owes its origin indirectly to the somewhat 
savage Christianity of Abyssinia. We refer to the hymn, 
"Saviour, Breathe an Evening Blessing." 

The author of this hymn, Dr. James Edmeston, it is 
said, was deeply impressed by the reading of an account 
of a traveler, who told, in connection with a visit to Abys- 
sinia, of how at night the Abyssinians always sang their 
short evening hymn, "Jesus Mahaxaroo." The meaning 
is "Jesus Forgives Us." This sentiment, the traveler 
said, stole through the camp, and in the spell of this 


thought they would retire to sleep. Thinking over this 
narrative, he conceived and wrote the hymn which so many 
English-speaking Christians today love and sing. We 
close this study with the words as a prayer, and in the hope 
that we have in glimpsing these wonderful hymns of even- 
ing kindled in our hearts a keener desire for evening wor- 

''Saviour, breathe an evening blessing, 
Ere repose our spirits seal; 
Sin and want we come confessing; 
Thou canst save, and Thou canst heal. 

"Though destruction walk around us, 
Though the arrow past us fly, 
Angel- guards from Thee surround us; 
We are safe if Thou art nigh. 

"Though tKe night be dark and dreary, 
Darkness cannot hide from Thee; 
Thou art He who, never weary, 
Watchest where Thy people be. 

"Should swift death this night o'ertake us, 
And our couch become our tomb, 
May the morn in heaven awake us, 
Clad in bright and deathless bloom." 


"j^^ HE life story of a writer, his personal experiences 

^■z and the circumstances under which he "^Tote 

^§88 "^ill often give new meaning to a hymn. The 

circumstances under which a hymn was written 

particularly, will often materially increase our appreciation 

of it. In fact, in the case of many hymns, the story of 

their origin is essential to the correct interpretation of 


That beautiful penitential hymn by Joachim Neander 
is an illustration of the advantage of knowiag the life story 
of the writer. We quote the hymn ^\dth its German title 
and in the excellent English translation of Miss Winkworth 
which is the translation most generally used and best 
known by us. 


Here behold me, as I cast me 

'Neath Thy throne, O glorious King! 

Sorrows thronging, childlike longing, 
Son of man, to Thee I bring. 
Let me find Thee! 

Me, a poor and worthless thing. 

Look upon me, Lord, I pray Thee, 

Let Thy Spirit dwell in mine; 
Thou hast sought me, Thou hast brought me, 
Only Thee to know I pine. 
Let me find Thee! 
Take my heart, and own me Thine! 



Naught I ask for, naught I strive for, 
But Thy grace so rich and free; 

That Thou givest whom Thou lovest, 
And who truly cleave to Thee. 
Let me find Thee! 

He hath all things who hath Thee. 

Earthly treasure, mirth and pleasure, 
Glorious name, or golden hoard, 

Are but weary, void and dreary. 
To the heart that longs for God. 
Let me find Thee! 

I am Thine, mighty Lord! 

This was probably the last hymn from the pen of the 
writer, as it bears the date 1679 A. D., which is the year 
preceding his death. 

Joachim Neander was one of the earliest and one of the 
best hymn writers of the "Reformed Church." As a 
student at Bremen he was unusually wild and reckless. 
As an illustration of his spirit it is told that on one occasion 
he and several companions went into St. Martin's Church 
of Bremen with the avowed purpose of making jest of the 
services, but the sermon so affected him that he became 
conscience stricken and in private visited the preacher. 
The result was that he came more and more into communi- 
cation with the pastor, whose influence led him to be more 
circumspect in his mode of life. 

He continued to love sport, and was an ardent hunter. 
On one occasion he was hunting in a forest, lost his way and 
suddenly found himself in dense darkness in a most 
dangerous position, where a single misstep meant his 
plunging to death over a great precipice. A feeling of 
horror came over him. For a few moments he could not 


move. In his extremity he prayed earnestly to God for 
help. According to his own story his courage returned. 
He felt as though a hand were leading him. Following the 
path thus indicated he reached his home in safety. In 
his prayer at the edge of the precipice he had vowed if he 
reached home in safety henceforth to devote himself 
entirely to the service of God. From that day he kept that 

Neander became very earnest and conscientious. He 
met and became intimate with Spener, the Lutheran 
pietist at Frankfurt, and while a teacher in the Reformed 
Grammer School at Diisseldorf, he was wont to hold 
prayer meetings on his own account. He would also 
absent himself from the communion, because as he said 
he could not conscientiously commune along with the 
unconverted. His attitude in these respects, especially 
as he advised others to do as he did, resulted in his sus- 
pension as a teacher. He was forbidden to preach and 
banished from the towTi. His pupils w^ould have fought 
for him, but he would not permit them to do so. There is 
a story current that he went to a deep glen near Mettmann, 
on the Rhine, where he spent the period of his banishment, 
which was not very long, living in a cavern. This cavern is 
still kno\\Ti by the name of "Neander's Cave." We are 
told that while in this cave he wrote several hymns. 


"A deep and holy awe 
Put Thou, my God, within my inmost soul, 
While near Thy feet I draw; 
And my heart sings in me, and my voice praises Thee; 
Do Thou all wandering sense and thought control. 


"O God, the crystal light 
Of Thy most stainless sunshine here is mine; 

It floods my outer sight; 
Ah, let me well discern Thyself where'er I turn, 
And see Thy power through all Thy creatures shine. 

''Hark! how the air is sweet 
With music from a thousand warbKng throats. 

Which echo doth repeat; 
To Thee I also sing, keep me beneath Thy wing; 
Disdain not Thou to hst my harsher notes. 

"Ah, Lord, the universe 
Is bright and laughing, full of pomp and mirth; 

Each summer doth rehearse 
A tale forever new of wonders Thou canst do 
In sunny skies and on the fruitful earth. 

"Thee all the mountains praise; 
The rocks and glens are full of song to Thee! 

They bid me join my lays, 
And laud the mighty Rock, who, safe from every shock, 
Beneath Thy shadow here doth shelter me." 

Intensely personal, the imagery is beautiful and gives 
a glimpse into the life of the man who has written many 
hymns which speedily were received into both Lutheran 
and Reformed hymn books. Many of them lived and 
are still in general use. 

If now we will re-read his ^^Sieh bin ich, Ehrenkdnig,^* 
and recall that it was written at the evening of a life 
begun in recklessness and with a purpose to make jest of 
religion, and which was filled with earnest piety and 
conscientious confl.ict we will find a richness of penitence 
and trust which w^ill make these stanzas, w^henever in the 
future it is our privilege to sing them, most helpful and 
devoutly impressive. 

There are few hymns that are better known or more 


widely used than the hymn, "My Faith Looks Up to 
Thee." It was composed in 1830 by the Rev. Ray 
Palmer, D. D., a Congregational clergyman. The words 
in themselves are so beautiful that we cannot help loving 
the hymn, but the writer's own description of its composi- 
tion will certainly increase our appreciation of the deep 
personal trust which is embodied in its lines. 

Dr. Palmer says that in composing this hymn he had 
not the slightest idea that he was writing for any eye but 
his own. He was simply expressing his own personal 
experience. He says of the composition: "I gave form to 
what I felt by writing, with little effort, the stanzas. 
I recollect I wrote them with very tender emotion, and 
ended the last line w^th tears." After writing the stanzas 
he slipped the paper into a vest pocket, where it remained 
practically forgotten. 

We might also say, led by the divine Spirit, hov/ever, 
that a short time afterward, his personal friend, Dr. 
Lowell Mason, met him and asked him if he would not 
give him one of his hymns that he might compose music 
for it. 

Dr. Palmer at once recalled his meditation and said he 
had something in his vest pocket that might serve his 
purpose. He drew it out, and, after some difficulty, 
straightened out the crumpled paper and deciphered the 
almost worn-out pencil script. 

Dr. Mason was delighted mth the words, caught their 
spirit, and very shortly afterward returned the words to 
Dr. Palmer set to the tune ''Olivet," the tune which has 
been used with it ever since. The musician shortly after- 
ward, in meeting the author of the words, said to him, 
"Dr. Palmer, you may live many years, and do many good 
things, but I think you will be best kno\\Ti to posterity 


as the author of 'My Faith Looks Up to Thee.' " This 
prophecy is today a fact. 

These words, with the music which has helped materially 
to endear the hymn to devout worshipers, seem almost 
to have been an accident. A Doctor of Music and a 
Doctor of Theology meeting casually in a busy thorough- 
fare of commerce for a very brief interview, scarcely more 
than enough for a polite salutation in passing as friends, 
and the consequence is the publication of a Christian hymn 
which is found in nearly every English hymn book pub- 
lished, and is today republished in a number of other 

The words and the tune belong together. The fact 
is only an illustration of the fact that in all cases we should 
take special care to associate the tune and words and never 
for the sake of variety attempt to use a strange tune with 
words that are in the mind and hearts of worshipers in- 
separably connected with their own melody. 

RAY palmer's hymn OF TRUST 

My faith looks up to Thee, 
Thou Lamb of Calvary, 

Saviour divine! 
Now hear me while I pray; 
Take all my guilt away; 
O let me from this day 

Be wholly Thine. 

May Thy rich grace impart 
Strength to my fainting heart, 

My zeal inspire; 
As Thou hast died for me, 
O may my love to Thee 
Pure, warm, and changeless be, 

A living fire. 


While life's dark maze I tread, 
And griefs around me spread, 

Be Thou my Guide; 
Bid darkness turn to day, 
Wipe sorrow's tears away, 
Nor let me ever stray 

From Thee aside. 

When ends life's transient dream, 
When death's cold sullen stream 

Shall o'er me roll; 
Blest Saviour, then, in love, 
Fear and distrust remove; 
O bear me safe above, 

A ransomed soul. 





ORD, keep us steadfast in Thy word: 
Curb those who fain by craft or sword 
Would wrest the kingdom from Thy Son, 
And set at naught all He hath done. 

Lord Jesus Christ, Thy power make known; 
For Thou art Lord of lords alone: 
Defend Thy Christendom, that we 
May evermore sing praise to Thee. 

O Comforter, of priceless worth, 
Send peace and unity on earth, 
Support us in our final strife. 
And lead us out of death to life. 

This hymn, which Luther probably wrote in 1541, 
has been called a ''Child's song against the two arch- 
enemies of Christ and His holy Church — the pope and 
the Turk." Neither is named in the hymn itself, which 
is really a prayer in verse to keep us through the word 
under the protection of the Triune God. 

The story of how Luther happened to write this hymn 
is very interesting. The knowing of it will give a deeper 
meaning to this short but expressive hymn, hence we give 
it. History tells us that in 1541 a service of prayer against 
the Turks was held in Wittenberg. For this service 
Luther prepared what, in ecclesiastical language, is called 



the ''Office," which is the order of the worship. Most 
of the music which was prepared was designed for the boys 
of the choir, which is suggestive of the fact that boy 
choirs were not unknown in Luther's day. This ser\'ice 
was printed in a large sheet form in 1542. It included the 
words of this hymn. It was also pubUshed in low German 
at Magdeburg in the same year. It found its way into 
a book known as Klug's Ceistliche Lieder, which was pub- 
Hshed in 1543-44. Here it was given the title, "A Hymn 
for the Children to Sing Against the Two Arch-enemies of 
Christ and His Holy — the Pope and the Turks." 

In view of the later history the reference to the Turk in 
this connection is interesting and seems almost prophetic. 
The Turk, through his persecutions and massacres of 
Christians, has earned the unenviable reputation of being 
an arch-enemy of the worst t^-pe. The history of the 
papacy warrants the prayer to be protected from this 
enemy of evangelical truth and freedom. 

It is very interesting to note the fact that it early 
came into use in England. It was introduced in a trans- 
lation by R. S. Wisdome. It was pubUshed in 1560. It 
came into favor and appeared in later editions and in 
other collections of h\Tnns. 

Warton in his "History of English Poetry" erroneously 
gives Wisdome, the translator, the credit of being the 
author and credits him \^ith this hymn as the most mem- 
orable of his work. He, however, says that Wisdome 
apparently had magnified the danger which threatened 
from popery and Mohammedanism, and questions whether 
they are "equally dangerous and also whether they are 
the sole enemies of our religion." He concludes by saying, 
"Happily we have hitherto survived these two formidable 


But Luther, the real author, had more opportunity to 
know both the Turk and the pope. They become to us 
in this hymn only the historic background of what is a 
prayer of the highest order to insure the protection of 
Christian people from all enemies. In it the word is our 
defence, God is our protector, Jesus Himself is our defence, 
and the Comforter our support in every strife until eternal 
victory is ours. 

Luther in his "Table Talk" comments on the conditions 
which occasioned the writing of this hymn. He says: 
"Antichrist is the pope and the Turk together; a beast 
full of life must have a body and a soul; the spirit or soul 
of antichrist is the pope, his flesh or body the Turk. The 
latter wastes and assails and persecutes God's Church 
corporally; the former spiritually and corporally too, with 
hanging, burning, murdering, etc. But, as in the apostles' 
time, the Church had the victory over the Jews and 
Romans, so now will she keep the field firm and solid 
against the hypocrisy and idolatry of the pope and the 
tyranny and devastation of the Turk and her other 

The origin and the content of this hymn emphasize 
its meaning and value. Rome boasts that she never 
changes; the Turk has not improved, new and diverse 
enemies have risen round about us, so that there are 
numerous occasions when sincere Christians, realizing 
their environment, can enter with appreciation into the 
singing of this old Luther hymn, recognizing that though 
some conditions vary, the real dangers are the same, and 
the need of every influence and protection and guidance of 
the Triune God prayed for in this remarkable Luther 
hymn is needed today and every day that the Christian 


This hymn is found in all good Lutheran hymn books; 
it is included in the new ''Common Service Book with 
Hymnal" for all English-speaking Lutherans; it is a uni- 
versal favorite in German churches. Written primarily 
for the children to sing, it has become a general favorite of 
devout, believing Christians who find it a most expressive 
prayer, breathing their innermost feelings as to the neces- 
sity of the restraints which only God can throw around the 
enemies of truth and the protection which only God can 
give to all Christians. It is, therefore, a prayer for con- 
tinuance in the word as a safe tower of defence. 

The favor in w^hich this hymn is held is evidenced by the 
fact that there are quite a number of translations. One 
authority refers to fourteen different English translations. 
That of Miss Winkworth, which we have given, is the 
favorite and is the one generally used in English books of 
worship. This hymn has also found its way into the 
other languages in which Luther's faith is preached. All 
young Lutherans know that these are numerous. Our 
singing of this great Luther hymn in the future will be with 
a deeper appreciation and a better understanding. 



MIGHTY Fortress is our God, 
A trusty Shield and Weapon; 
He helps us free from every need 
That hath us now o'ertaken. 
The old bitter foe 
Means us deadly woe: 
Deep guile and great might 
Are his dread arms in fight, 
On earth is not his equal. 

With might of ours can naught be done, 

Soon were our loss effected; 
But for us fights the Vahant One, 
Whom God Himself elected. 
Ask ye, Who is this? 
Jesus Christ it is. 
Of Sabaoth Lord, 
And there's none other God, 
He holds the field forever. 

Though devils all the world should fill, 

All watching to devour us, 

We tremble not, we fear no ill. 

They cannot overpower us. 

This world's prince may still 
Scowl fierce as he will, 
He can harm us none. 
He's judged, the deed is done, 
One Httle word o'erthrows him. 


The Word they still shall let remain 

And not a thank have for it, 
He's by our side upon the plain, 
With His good gifts and Spirit. 
Take they then our life, 
Goods, fame, child and wife; 
When their worst is done, 
They yet have nothing won, 
The Kingdom ours remaineth. 

As in the great drama of the Reformation one colossal 
figure stands prominently forth, so in the rich storehouse 
of Lutheran hymnology there is one great hymn which 
stands out as the greatest of them all, namely, Luther's 
Battle Hymn — '*A mighty Fortress is our God." 

Koestlin, the historian, has well written, "This hymn 
is Luther in song. It is pitched in the very key of the man. 
Rugged and majestic, trustful in God and confident, it 
was the defiant trumpet blast of the Reformation, speaking 
out to the powers of the earth and under the earth an all- 
conquering conviction of divine vocation and empower- 
ment. The world has many sacred songs of exquisite 
tenderness and unalterable trust, but this one of Luther's 
is matchless in its warlike tone, its rugged strength and its 
inspiring ring." 

Probably the prevalent impression that Luther wrote 
this hymn on his way to Worms and chanted it as he entered 
the city is due to the parallel in the third stanza to his fa- 
mous saying on the eve of the Diet of Worms, *T'll go, 
though there are as many devils in the city as there are 
tiles on the roofs of the houses." 

The time of its composition, according to the best 
authorities, was just before the Diet of Augsburg in 1529. 
It probably was written in his temporary refuge, the noble 


Castle Coburg. It certainly was often sung there by him. 
We naturally, therefore, associate its imagery with this 
beautiful castle. According to d'Aubigne, the historian, 
it was sung by the reformers not only at the Diet itself 
in Augsburg, but also by the people in all the churches of 
Saxony. Thus we see that this, the greatest of our Ref- 
ormation hymns, was born almost simultaneously with 
Protestantism's greatest distinctive creed, the Augsburg 
Confession. We cannot consistently subscribe to the 
one without ardently loving and diligently using the 

The hymn was suggested by Psalm 46, but it is really 
Luther's psalm, not David's. Only the idea of the strong- 
hold is taken from the Scripture, the rest is Luther's own, 
as Mr. Stead says, "Made in Germany." Luther loved 
Psalm 46, and we are told that when in any special trial 
he often would say to Melanchthon, "Come, Philip, let 
us sing the forty-sixth Psalm." And how they would sing 
it, but according to Luther's own version. 

It has even been said that Luther accomplished as much 
for the Reformation through his battle hymn as he did 
through his translation of the Bible. While we could not 
set up this claim as a fact, it certainly was the "Marseillaise 
of the Reformation, and has preserved to this day a potent 
spell over Germany." 

The music of this grand hymn, like the words, is Luther's 
own. A special testimony to his work as a composer ap- 
pears in a letter from the composer, John Walther, who has 
been credited with the music of this hymn. Sleidan, a 
nearly contemporary historian, speaking especially of "Ein 
Feste Burg," says ''that Luther made for it a tune singu- 
larly suited to the words and adapted to stir the heart." 
Says Leonard Woolsey Bacon, "If ever there were hymn 



and tune that told their own story of a common and sim- 
ultaneous origin, without need of confirmation by external 
evidence, it is these." 

The general favor and wide use of this hymn are evi- 
denced by the fact stated by the late Dr. Bernard Pick, 
a leading American authority on the hymns of Luther, 
that there are no less than ninety distinct translations 
of Luther's Battle Hymn into English, and that the 
hymn has been translated into about fifty different lan- 
guages. What a Pentecostal evidence of evangelical faith 
to hear each man in his owtl of these fifty tongues unite as 
the great choir of the Church Triumphant in singing the 
rugged notes and vigorous words of Luther's Battle Hymn 
as their song of victory! Fitting words and melody for 
such a chorus. 

In the formative days of the Reformation Luther's 
Battle Hymn was ''sung in all the churches of Saxony, 
and its energetic strains often revived and inspirited the 
most dejected hearts." It was sung at Luther's funeral. 
The first line is carved on his tomb in the Castle Church 
at Wittenberg. 

Another incident illustrative of the influence of this 
hymn in the Reformation days is told in connection with 
the introduction of the evangelical faith into Hanover. 
The people there caught up the hymns and sang them 
with delight; they imbibed the spirit of the battle hymn 
and thus paved the way for the evangelical preacher. 

The Huguenots of France took great comfort out of 
singing what they were pleased to call the Marseillaise of 
the Reformation. 

Strange as it may seem to our readers, it was a true 
defence for the Moravians in connection with a great 
revival meeting. David Nitschman, who was later the 


founder of old Bethlehem, Pa., was holding a revival 
service in his house when the police came to disperse 
the meeting. As the officers entered the congregation 
began singing "A mighty Fortress." Many were arrested, 
but nothing daunted, Nitschman escaped and with others 
fled to America, arriving with Wesley at Savannah, 

At the great battles for Protestantism at Leipzig and 
Liitzen the stirring notes of Luther's great hymn rang out 
over the martial scene and gave inspiration to the thousands 
of soldiers who, like a mightly choir, made the very arches 
of heaven re-echo with its vigorous strains. 

During the Boxer uprising in China Missionary Charles 
G. Lewis tells in his experiences how he and his com- 
pany were situated two thousand miles inland and seven 
days' journey from their nearest Christian neighbors. 
Attempting flight, they were forced to return to their 
station. Knowing something of the fate of their fellow- 
missionaries elsewhere, in these days of peril and uncer- 
tainty they found new meaning in the words of Luther as 
they sang '^A mighty Fortress is our God." Through the 
singing of this hymn his testimony is that their hearts 
received fresh strength and courage and they realized, as 
never before, how the Lord's people in the trying days of 
the Reformation found in God a ^'mighty Fortress from 
every danger." 

The missionaries in Paoutingfu, China, were all killed 
during those same Boxer uprisings. Later a memorial 
service was held on the very spot where these messengers 
of the cross w^ere martyred. Officials of the various govern- 
ments w^hose missionaries had died there, together with 
Chinese officials, were present. The outstanding feature 
of that memorial service was the singing, led by a German 


military band, of Luther's famous hymn by the polyglot 

Independent of its religious significance, this hymn has 
found favor with the musical critics as a suitable choral for 
the use of great gatherings. As an instance, we note the 
fact that it was the choice for the grand chorus to sing in 
one of Boston's greatest musical festivals. 

There is seldom a gathering of Lutherans in America 
which does not, before dispersing, join in singing "Ein 
Feste B urg . " At the greater gatherings it is usually printed 
in several languages, so that the people may sing it in the 
tongue which is most familiar to them. In Chicago, 
New York, Pittsburgh, MinneapoUs, Philadelphia, Buffalo 
we have joined in the singing when* from three to six 
different languages were used simultaneously. It seems 
to lift the audience to its feet. 

In speaking of one of such occasions a distinguished 
WTiter says: ''Led by an immense band, 'A Mighty Fortress' 
was sung in seven different languages. It was a perfect 
babel of sound, but the effect was wonderful. So grandly 
was it simg, with such matchless harmony, unity and 
solemnity that it stirred the vast audience to tears and to 
the utmost pitch of enthusiasm. To those who were 
present it is Uttle wonder that the hymn bore an important 
part in nerving the German soldiers to deeds of desperate 
daring when sung on the eve of battle, or that it should be 
used as a great thanksgiving psalm when the victory was 

Such is the matchless hymn which is peculiarly the 
property of the Lutheran Church and w^hich Lutherans 
gladly contribute to the whole Protestant world as the 
stirring marshal music, which, widely used, will be mighty 


in voicing faith, in cultivating deepest devotion and devel- 
oping greatest Christian courage. 

With Luther, as in trials he says to Melanchthon, not 
only to all Lutherans, but to all who would develop evan- 
gelical faith, let us say, "Come, let us sing the forty-sixth 
psalm." We will sing it in Luther's words to Luther's 
melody. It will prove an inspiration and make evan- 
gelical Christians realize their real Tower and Source of 
strength and defence. 



CHE Church as a Divine institution, the channel 
through which men are led to and blessed by God, 

g^gS has naturally been the theme which has inspired 
the Church's singers. John Newton has fur- 
nished us one of this type of hymns, a hymn which was 
originally published in the Olney Hymns under the title 
of "Zion, or the City of God." It was a hymn of five 
stanzas, based on Isa. 33 : 20, 21. The Olney Hymns 
were published in 1779. 

Newton's hymn on the church of christ 

Glorious things of thee are spoken, 

Zion, city of our God; 
He, whose word cannot be broken, 

Form'd thee for His own abode; 
On the Rock of Ages founded, 

What can shake thy sure repose? 
With salvation's walls surrounded. 

Thou may'st smile at all thy foes. 

See the streams of living waters 

Springing from eternal love. 
Well supply thy sons and daughters, 

And all fear of want remove. 
Who can faint while such a river 

Ever flows their thirst to assuage? 
Grace, which, like the Lord, the Giver, 

Never fails from age to age. 


Saviour, if of Zion's city 

I, through grace, a member am, 
Let the world deride or pity, 

I will glory in Thy Name, 
Fading is the wordMng's pleasure, 

All his boasted pomp and show; 
SoHd joys and lasting treasure 

None but Zion's children know. 

This hymn, which is used in various forms both 
in England and in this country, has attained great 
popularity in all English-speaking countries. It ranks 
among the first hymns in English in every branch of the 
Protestant Church. It is interesting to note that a por- 
tion of this hymn has been translated into Latin and is 
included in a Latin Hymn book w^hich w^as published in 


A hymn which has an interesting origin and history is 
the hymn usually called by its first line, "The Church's 
One Foundation." It was written by Samuel J. Stone in 
1866. The story of its conception in the mind of the 
waiter is that he was impressed by the defence of the 
Cathohc Faith made by Bishop Gray, of Capetown, 
against the teachings of Bishop Colenso. This fact 
gives it an historic association which adds interest and 
meaning to its stanzas, which in the original number 

The hymn as it appeared originally is an elaboration of 
that portion of the Apostles' Creed which is indicated by 
the title, 'The Holy CathoHc Church: The Communion 
of Saints. He is the Head of the Body, the Church." 
This title is given to the hymn in the author's collection 


known as "Lyra Fidelium." These facts of its credal 
foundation and origin as an outburst of joy and confidence 
over the defence of the Church make it a true hymn of the 
Church, one which is especially appropriate for us on 
Church festivals. We give herewith those stanzas which 
are most familiar and most widely used. 


The Church's one foundation 

Is Jesus Christ her Lord; 
She is His new creation 

By water and the Word; 
From heaven He came, and sought her 

To be His holy Bride, 
With His own blood He bought her, 

And for her life He died. 

Elect from every nation, 

Yet one o'er all the earth, 
Her charter of salvation 

One Lord, one Faith, one Birth; 
One holy Name she blesses. 

Partakes one holy Food, 
And to one Hope she presses. 

With every grace endued. 

Though with a scornful wonder 

Men see her sore opprest, 
By schisms rent asunder. 

By heresies distrest; 
Yet saints their watch are keeping, 

Their cry goes up, "How long?" 
And soon the night of weeping 

Shall be the morn of song. 


Mid toil and tribulation, 

And tumult of her war, 
She waits the consummation 

Of peace for evermore; 
Till with the vision glorious 

Her longing eyes are blest, 
And the great Church victorious 

Shall be the Church at rest. 

A hymn which has found a place among the hymns which 
will live and which is known especially as the author's 
hymn by the title which is often given to it, "Dr. D wight's 
Hymn," is that hymn from the pen of Yale's distinguished 
President which breathes in rhythmic poetry the spirit 
of David's beautiful "Song of Degrees." The hymn is 
usually sung to the tune St. Thomas, to which tune it was 
set by Aaron Williams, who does not claim authorship for 
the music, which while not credited to Handel, is generally 
believed to be a production of that master musician. 

DR. DWIGHT's hymn 

I love Thy Zion, Lord, 
The house of Thine abode; 
The Church our blest Redeemer saved 
With His own precious Blood. 

I love Thy Church, O God! 
Her walls before Thee stand, 
Dear as the apple of Thine eye. 
And graven on Thy hand. 

For her my tears shall fall; 
For her my prayers ascend: 
To her my cares and toils be given 
Till toils and cares shall end. 

Beyond my highest joy 
I prize her heavenly ways. 
Her sweet communion, solemn vows, 
Her hymns of love and praise. 


Jesus, Thou Friend divine. 
Our Saviour and our King, 
Thy hand from every snare and foe 
Shall great deliverance bring. 

Sure as Thy truth shall last, 
To Zion shall be given 
The brightest glories earth can yield, 
And brighter bliss of heaven. 

Among the seven hundred and sixty-five hymns written 
by Thomas Kelly is one on the safety of the Church which 
is worthy of a place in any good hymn book. The author, 
who was a son of an eminent Irish judge, was educated 
with a view to the law; but through spiritual conviction 
gave himself to the work of the ministry. With Rowland 
Hill, because of his earnest evangelical preaching, he was 
inhibited by the Archbishop of Dublin and compelled to 
preach in unconsecrated buildings. He eventually seceded 
from the Established Church and erected a number of 
places of worship in which he conducted worship and 
preached. This insight into the life of the author will 
materially increase our appreciation of his hymn in which 
he sings of the safety of the Church. 


Zion stands with hills surrounded; 

Zion kept by power divine; 
All her foes shall be confounded. 

Though the world in arms combine. 
Happy Zion, 

What a favored lot is thine! 

Every human tie may perish; 

Friend to friend unfaithful prove; 
Mothers cease their own to cherish; 

Heaven and earth at last remove; 
But no changes 

Can attend Jehovah's love. 


In the furnace God may prove thee, 
Thence to bring thee forth more bright, 

But can never cease to love thee; 
Thou art precious in His sight: 

God is with thee, 
God, thine everlasting Light. 

A hymn which emphasizes the security of the Church 
and which is growing in favor in all portions of it 
is Bishop A. Cleveland Cox's, "O Where are Kings and 
Empires Now." This hymn, which was. first published 
in ''The Churchman" in 1839, is a part of Bishop Cox's 
ballad, ** Chelsea." Amid the rise and fall of nations we 
in the light of history see the full significance of this mean- 
ingful hymn. 


O where are kings and empires now, 

Of old that went and came? 
But, Lord, Thy Church is praying yet, 

A thousand years the same. 

We mark her goodly battlements, 

And her foundations strong; 
We hear within the solemn voice 

Of her unending song, 

For not hke kingdoms of the world 

Thy holy Church,^0 Lord! 
Though earthquake shocks are threatening her, 

And tempests are abroad; 

Unshaken as th' eternal hills, 

Immovable she stands, 
A mountain that shall fill the earth, 

A house not made with hands. 



OIUT of the heroic struggles of the Thirty Years' War, 
I which saved for the world the fruit of the sixteenth 
^ century Reformation, there stands forth one 
gigantic son of the Vikings, the noble Gustavus 
Adolphus, king of Sweden. His name is inseparably 
linked with one of the really great hymns of the Church — 
a hymn which was born in the midst of the conflict and 
is especially expressive of the faith and heroism which 
characterizes all true behevers in the midst of trials and 



Fear not, little flock, the foe 
Who madly seeks your overthrow; 

Dread not his rage and power: 
What though your courage sometimes faints. 
His seeming triumph o'er God's saints 

Lasts but a little hour. 

Be of good cheer; your cause belongs 
To Him who can avenge your wrongs; 

Leave it to Him, our Lord. 
Though hidden yet from mortal eyes, 
Salvation shall for you arise: 

He girdeth on His sword! 

As true as God's own word is true, 
Not earth nor hell ^\ith all their crew 

Against us shall prevail. 
A jest and byword are they grown: 
God is with us; we are His own; 

Our victory cannot fail. 


Amen, Lord Jesus, grant our prayer! 
Great Captain, now Thine arm make bare; 

Fight for us once again! 
So shall Thy saints and martyrs raise 
A mighty chorus to Thy praise, 

World without end. Amen. 

The hymn was written to commemorate the victory 
of the Protestant armies under Gustavus Adolphus on the 
field of Leipzig, September, 17, 1631. The authorship 
is somewhat uncertain. It is popularly ascribed to King 
Gustavus Adolphus himself. There are good authorities 
who say that his chaplain, Jacob Fabricius, was the real 
author. Still others, and with the weight of evidence in 
their favor, say that the author was Johann Michael 
Altenberg, a Lutheran pastor, who was compelled to flee 
from his home during the Thirty Years' War. While 
at Erfurt he wrote this hymn to celebrate the victory of 
the Swedish king and his army over Roman Catholic 
forces at Leipzig. Gustavus Adolphus, the Swedish king 
and commander, was so taken with it that he used it 
constantly and ordered it to be sung before every battle 
thereafter. This accounts for the title and the accredited 
authorship. He made it his own. 

The oldest form of the hymn is published as a pamphlet, 
which appeared shortly after the battle of Liitzen. A 
copy of this pamphlet is to be found in the Royal Library 
in Berlin and another in the Totvh Library in Hamburg. 

We are told that on the morning of November, 16, 1632, 
King Gustavus Adolphus' forces engaged Wallenstein's 
army in the decisive battle of Liitzen. Early in the morn- 
ing the king summoned his court preacher, Fabricius, and 
directed him to hold a service of prayer for the whole 
army. While a thick mist still covered the field the king's 



battle hymn was sung. Gustavus then gave the watch- 
word for the fight — ''God with us" — rode before the army 
to encourage his soldiers and commanded that as the troops 
advanced the trumpets should play ''Ein Feste Burg" and 
"Es woll uns Gott gnadig sein." The battle was fiercely 
fought, the king falling, but victory came and evangelical 
liberty was assured and sealed by the blood of the martyred 
Swedish king. Because of the use of this hymn on the 
morning of his death it is often called 'The Swan Song of 
King Gustavus Adolphus." 

The prayer which the king uttered that morning has 
been preserved. It was his usual battle prayer, and 
embraced the following brief sentences: "O Lord Jesus 
Christ, bless our armies and this day's battle, for the glory 
of Thy holy name! Amen." Uttering the battle cry, 
"God with us!" he fought till he fell from his charger 
in the front of his valiant troops, when from the lips of the 
dying king came these words, "I seal with my blood the 
liberty and religion of the German nation." It was the 
heroic and worthy ending of a martyr, an incident which 
adds imperishable interest to the hymn. 

Well has Frederick Saunders said: "What struggles 
of soul have some of these hymns not witnessed, in what 
strange and stirring scenes have they not mingled! How 
has their melody and sweet inspiration brought solace to 
sorrow, and lent ecstasy to spiritual joy! Like the words 
of the Holy Book, they linger in the memory; and, in the 
hours of despondency and gloom, how often have they 
lifted us up from the earthliness of our being, and also 
imparted even to the sick and dying wondrous consola- 
tion." How we should seek to know the origin and enter 
into the spirit of the hymns we sing ! 

Concerning Gustavus Adolphus' hymn we might add 


that it is published in the Swedish hymn book of 181 9, 
a book in extensive use both in Sweden and America, 
and there ascribed to the king himself. In the Swedish 
Lutheran churches in this country it is invariably sung at 
Reformation festivals and also at Gustavus Adolphus Day 
(November 6) celebrations. It is also in very general 
use in all Lutheran churches in this country and increasing 
in popularity and use every year. 

It was sung at the dedication of the Gustavus Adolphus 
Chapel at Liitzen November 6, 1907. This chapel was 
the gift of Conrad Oscar Ekman, of Sweden, to the city 
of Liitzen. It stands on the spot which tradition points 
out as the place where the great king fell and where 
*'Schwedenstein" was placed. At the dedication there 
were present representatives of the Church in Germany, 
Sweden, Finland and America, officially speaking for the 
followers of Luther and Gustavus Adolphus in those lands. 
It was a great occasion and a high tribute to the man who 
fell there and whose favorite melody rang out to honor the 
man who had found strengthening for his faith in the rugged 
words of the old battle song, which had aided in bringing 
to a successful issue the terrors of the Thirty Years' Wax. 

Whether German or Swede may claim this hymn is a 
question. They both rightly own it. It is a general 
favorite in Germany. Every Sunday in the home of the 
great German Lutheran pietist, Philip Jacob Spener, this 
hymn was sung. It is regularly used at the meetings of 
the Gustavus Adolphus Union, an association organized 
for the express purpose of helping Protestant Churches in 
Roman Catholic countries. This would seem to be an 
eminently appropriate use of this hymn so closely asso- 
ciated with the Protestant struggle and the Protestant 




The hymn has been translated into many languages 
and is in wide use. There are a number of English transla- 
tions, the most generally used of which is the one we have 
given above from the pen of Miss Wink'worth. 

A hymn which is a contrast to the battle hymn of the 
Swedish king is Dr. Paul Eber's hymn, which he composed, 
based on the words of King Jehoshaphat (2 Chron, 20 : 12). 
There are a number of translations, but as is so often the 
case, the favorite one which we give is that from the pen of 
Miss Wink worth. 


When in the hour of utmost need 
We know not where to look for aid; 
When days and nights of anxious thought 
Nor help nor counsel yet have brought: 

Then this our comfort is alone, 
That we may meet before Thy throne, 
And cry, O faithful God, to Thee 
For rescue from our misery: 

To Thee may raise our hearts and eyes. 
Repenting sore with bitter sighs, 
And seek Thy pardon for our sin, 
And respite from our griefs within. 

For Thou hast promised graciously 
To hear all those who cry to Thee, 
Through Him whose name alone is great, 
Our Saviour and our Advocate. 

And thus we come, O God, tod,ay. 
And all our woes l^efore Thee lay; 
For tired, afflicted, lo! we stand, 
Peril and foes on every hand. 


Ah, hide not for our sins Thy face; 
Absolve us through Thy boundless grace; 
Be with us in our anguish still, 
Free us at last from every ill. 

That so with all our hearts may we 
Once more with joy give thanks to Thee, 
And walk obedient to Thy word, 
And now and ever praise the Lord. 

This hymn was founded on an earlier hymn in Latin by 
Joachim Camerarius. This Latin original was the source 
of special comfort to Melanchthon and probably also Dr. 
Eber in 1546. It is stated that on Ascension Day, 1547, 
after the battle of Miihlberg, the Wittenbergers having 
received a message from the captive elector to deliver 
their city to the emperor, Charles V, they assembled for 
prayer in church. Bugenhagen's prayer on this occasion 
which has been preserved greatly resembles Eber's hymn, 
which, however, probably was not written until some time 
later. It has been called a "cry from the depths," though 
not in despair, but in trustful confidence in God. It is 
one of the finest specimens of the hymns of the Reformation 
period which have come down to us. 

A writer of that period tells us how the singing of this 
hymn and the prayers of Martin Rinkart, archdeacon of 
Eulenberg, near Leipzig, prevailed to move the heart of 
the Swedish lieutenant-colonel, who, on February 21, 1635, 
had demanded an enormous ransom, but eventually ac- 
cepted a few florins. In commemoration of a similar 
deliverance from another army in 1642 the hymn was sung 
at the end of the Sunday afternoon service at Pegau, near 
Leipzig. Similar instances in the period following the 


Reformation were frequent. Thus we see the historic 
significance as well as the peculiar appropriateness of this 
hymn as a petition of believers in the time of trouble. 

Under the imagery of war probably the best known and 
most popular marching hymn of the Christian Church 
has come to us from the pen of the Rev. S. Baring- Gould. 
While not strictly a war hymn, it is given here as suggestive 
of the good warfare which the Christian soldier should 
wage. Of this hymn it has been said that it is one of the 
few good hymns which have proven successful which have 
been written to order, so to speak. It was written in 
1865 for a special occasion. On Whitmonday the Sunday- 
school children in the village where the author resided 
were to march to an adjoining village. It was desired 
that the children should sing while marching, but, not being 
able to find anything to suit him, the minister sat up at 
night, while others slept, and composed this hymn. Thirty 
years after writing it he said, 'Tt was written in great haste, 
and I am afraid some of the rhymes are faulty. Certainly 
nothing has surprised me more than its popularity." 
The splendid tune which Sir Arthur Seymour Sullivan 
has given to this hymn will alone immortalize his 

With so much evil and world conflict about us the Chris- 
tian Church, which at times may weary and become faint- 
hearted, needs to catch the spirit of this optimistic battle 
hymn of the Christian conflict. During a hard fought 
battle between the French and the Austrians, an officer, 
rushing up to the French commander, exclaimed, ''The 
battle is lost!" The general quietly replied, "One battle 
is lost, but there is time to win another." The general's 
optimism brought victory. So it is in the Church, great 


battles are to be fought in this twentieth century. If we 
catch the spirit which led Baring-Gould to declare "the 
Church of Jesus constant will remain" we will surely take 
up his battle cry, ''On, then, Christian soldiers, on to vic- 

Whatever we may think of cruel war, the warfare of 
God's people for righteousness and for the triumph of the 
cross we all approve. In this spirit we take as our battle 
song the widely used and ever-popular hymn aptly called 


Onward, Christian soldiers, 

Marching as to war. 
With the Cross of Jesus 

Going on before. 
Christ, the Royal Master, 

Leads against the foe: 
Forward into battle. 

See His banners go. 


Onward, Christian soldiers 
Marching as to war, 

With the Cross of Jesus 
Going on before. 

At the sign of triumph, 

Satan's armies flee: 
On, then. Christian soldiers, 

On to victory. 
Hell's foundations quiver, 

At the shout of praise; 
Brothers, lift your voices. 

Loud your anthems raise. 


Like a mighty army, 

Moves the Church of God: 
Brothers, we are treading 

Where the saints have trod. 
We are not divided, 

All one body we, 
One in hope and doctrine, 

One in charity. 

What our Lord established 

That we hold for true: 
What the saints believed 

That believe we too. 
Long as earth endureth 

Men that faith will hold — 
Kingdoms, nations, empires, 

In destruction rolled. 

Crowns and thrones may perish, 

Kingdoms rise and wane. 
But the Church of Jesus 

Constant will remain. 
Gates of hell can never 

'Gainst that Church prevail: 
We have Christ's own promise. 

And that cannot fail. 

Onward, then, ye faithful, 

Join our happy throng. 
Blend with ours your voices, 

In the triumph-song. 
Glory, laud, and honor, 

Unto Christ the King: 
This, through countless ages, 

Men and angels sing. 



DOW thank we all our God, 
With hearts and hands and voices, 
r||||ii Who wondrous things hath done, 
"sUflKl In whom His earth rejoices; 
Who from our mothers' arms 
Hath blessed us on our way 
With countless gifts of love, 
And still is ours today. 

"Oh, may this bounteous God 

Through all our hfe be near us, 
With ever joyful hearts 

And blessed peace to cheer us; 
And keep us in His grace, 

And guide us when perplexed, 
And free us from all ills. 

In this world and the next. 

"All praise and thanks to God 

The Father now be given, 
The Son, and Him who reigns 

With them in highest heaven; 
The One eternal God, 

Whom earth and heaven adore; 
For thus it was, is now, 

And shall be evermore!" 

Praise and thanksgiving enter largely into the Christian's 
conception of worship. A hymn of thanksgiving for this 
reason is at once accorded a favorable hearing. 

The Harvest Festival is an ancient custom which has 



come down from the Old Testament Church. It is held 
m high favor and very generally observed. Our national 
Thanksgiving is the product of our American national life. 
Obedient to the command of Christ to "Render unto 
Caesar the things that are Caesar's," the true Christian is 
necessarily a good citizen. He, therefore, finds both re- 
hgious and patriotic reasons for the expression of thanks 
in respect to his spiritual and temporal blessings. 

The note of praise and of thanksgiving sounds in harmony 
with the proper expression of a true evangelical faith. 
Hence the occasion is frequent when an evangelical Chris- 
tian lifts heart and voice in thanksgi\'ing to God. Logic- 
ally, therefore, Martin Rinkart's hymn, ''Nun danket 
alle Gott," is a hymn which is widely known and a 
general favorite. Perhaps this hymn is simg even more 
frequently than is Luther's famous "Battle H\Tnn." It 
finds an honored place in the service on all festival occa- 
sions. Any Lutheran gathering can be safely asked to 
sing this h}Tnn, for if they are without books the words 
and melody are both printed on every mind. 

Luther's great "Battle H}Tnn" is a hymn of combat and 
of resolution to battle to the end. It inspires faith and 
courage, elements greatly needed in the Christian life of 
this day. This hymn of Martin Rinkart is rather an out- 
burst of gratitude. The note of thanksgi\dng is so decided 
as to give confidence, and, through a realization of past 
achievements and blessings under God to undertake new 
efforts and engage in further conflicts with increased faith 
and renewed courage. Rightly understood, it is really a 
fruitage of and a supplement to Luther's famous hymn. 
How often we hear them in the same service ! 

This hymn, which has been popularly called the "Ger- 
man Te Deum," is a metrical version or paraphrase of two 


verses of Sirach (Sirach 50 : 24, 25), and of the "Gloria 
Patri" in the third verse. It is generally believed to have 
been written in the year 1644 in the prospect of the re- 
establishment of peace. The regimental chaplains, when 
holding special services of thanksgiving for the conclusion 
of peace, were instructed to use this passage as their text. 
This, by some, is supposed to have been the suggestion 
to Rinkart of the writing of the hymn. A more recent 
claim is made by an eminent hymnologist that the 
hymn was written in 1630 as a hymn or prayer of 
thanksgiving after meals, and especially intended for 
Rinkart's children. The original manuscript of the 
hymn is still in the possession of the descendants of 
the author. Since 1648 it has been used as the German 
Te Deum at all national festivals of war and peace. It 
was sung by the army of Frederick the Great after the 
Prussians had won the battle of Leuthen. During the 
Franco-Prussian War it was sung constantly, and when 
the history of the present war has been written we may 
find that this hymn has played an important part in the 
religious experience of many brave soldiers. 

When the great and beautiful Cologne Cathedral was 
consecrated this hymn had an important place in the 
service. This was in 1880. When the Reichstag in Berlin 
was begun Emperor WilUam laid the corner-stone and the 
vast concourse of people sang "Nun danket alle Gott." 
It is today found in every German hymn book and has 
been translated and used in the hymn books of those 
worshiping in many other tongues. There are a number of 
English translations, that of Miss Winkworth being the 
most popular. The hymn has found its way into a number 
of hymnals of other churches, and is certain to grow in 
favor and use as the years pass. 


The author, Martin Rinkart, was bom at Eilenberg, 
Saxony, April 23, 1586. When only fifteen years of age 
he became a scholar and chorister in St. Thomas' School 
at Leipsic. This made it possible for him to enter the 
University of Leipsic, where he studied theology. He 
served in several churches, one being near Eisleben, 
finally landing in the to\Mi of his birth, where he died 
December 8, 1649. 

The greater part of his public life was passed during the 
horrors of the Thirty Years' War. Eilenberg, where he 
lived, suffered from pestilence and famine. History tells 
us that the superintendent went aw^ay and would not 
return. Pastor Rinkart in one day officiated at the 
funerals of two of the resident pastors and two ministerial 
refugees who had fled to Eilenberg because it was a walled 
town. He was left as the sole pastor in the place. In 
anticipation of peace he had reason to thank God. His 
hymn is the outgrowth of his inner personal experience. 
It is the word lived, expressed in his hymn. It is because 
it expresses the personal experience of countless men and 
women who have true faith in God that it is such a general 

It is an evidence of the beauty and character of this 
hymn to note that Mendelssohn introduces it into his 
"Hymn of Praise." Like "A Mighty Fortress," it has 
its own tune. It has been claimed that the melody which 
is credited to Johann Criiger was adapted from a melody 
by a Roman choirmaster by the name of Marenzo, but 
more probably from a motet by Rinkart himself. There 
is no convincing evidence for either claim. Whatever its 
source, words and music belong together. 

The author of this hymn, it is interesting to note, 
was the author of seven dramas on the Reformation 


period. The occasion for their preparation was the 
centennial of the Reformation in 1617. These jubilees 
should not only inspire us to use the grand treasures which 
we possess; they should call forth the best in poetry, 
music and service that is in us. 

A really great hymn which deserves to be better 
known and more generally used is Johann Franck's 
"Herr Gott wir danken Dir." Miss Winkworth's 
translation begins, 

"Lord God, we worship Thee! 
In loud and happy chorus, 
We praise Thy love and power, 
Whose goodness reigneth o'er us." 

This hymn is one of several by the same writer which 
have found their way into the English language and which 
have met with favor in English worship. 

Another hymn which is popular with our young people 
and usually sung at Harvest Festivals comes from the pen 
of an Episcopal clergyman, the Rev. Henry Alford, D. D. 
We refer to the hymn — 


Come, ye thankful people, come, 
Raise the song of harvest home!" 

The author of this hymn was a man of great learning. 
His greatest achievement was not in hymnody, but in 
his Greek Testament, upon which he spent fully twenty 
years of labor. The most popular of his hymns is this 
Harvest Hymn, which Christians of many creeds have 
adopted and made their own. 


hyjmns of thanksgiving 207 

We must also mention a hymn of Francis Scott Key, 
who is known principally to Americans as the author 
of the patriotic song, 'The Star-Spangled Banner," 

"Before the Lord we bow, 

The God who reigns above, 
And rules the world below, 

Boundless in power and love. 
Our thanks we bring 

In joy and praise, 

Our hearts we raise 
To heaven's high King." 

This is truly a national thanksgiving hymn, which prop- 
erly belongs to all Christian citizens. It was written in 
1832 and probably especially for the Fourth of July 
celebration of that year. It therefore, in origin and in 
contents, blends the Christian and national sentiment into 
such a recognition of God as the Ruler, the Source of all 
blessings and the object of worship, as to give it a place of 
honor in any collection of hymns of thanksgi\dng and for 
patriotic purposes. In an especial manner it should appeal 
to Americans as a national birthday token to American 
independence, which recognizes the real and ultimate source 
of all ci\dl as well as religious liberty to be the Lord God 
who reigns in the heavens and rules all the nations of the 


CHE civil liberty, proclaimed by the ringing of the 
^^ "Liberty Bell" at Independence Hall, Philadelphia, 
jSS^ was an echo of the "Hammer Strokes" struck at 
Wittenberg four centuries ago. "The Ninety- 
five Theses" were the bold declarations of spiritual freedom 
which prepared the way for the declaration of American 

Naturally, therefore, Lutherans, by the very compulsion 
of their religious liberty from the beginning of this country, 
have been American patriots of the highest order. A 
Lutheran minister reflected his Lutheran principles in 
one of the most dramatic scenes of revolutionary times 
when Rev. Peter Muhlenberg left his Lutheran pulpit at 
Woodstock, Va., threw aside his Lutheran robe and stood 
in full uniform as a Continental colonel, ready to lead his 
Lutheran men, as one of the heroic supporters of General 
Washington in the great war for American independence. 
Another Lutheran minister, Frederick Augustus, and a 
brother of the General, became a leader in civil affairs 
and was the first Speaker of the House of Representa- 
tives. A long line of equally patriotic Americans to the 
present day have shown their true Lutheranism in loyalty 
as citizens. Lutherans in many countries, under various 
forms of government, true to scriptural principles, have 
always been subject to the powers that be and have 
cheerfully shown their loyalty to the government which 
gives them their civil rights and protection. 



We offer no apology, therefore, for Lutherans loving and 
using, as occasion offers, the patriotic hymns which have 
sprung from the life of the nation. Without exception 
these hymns have a history of their own. To know that 
history will help to understand their inner meaning and 
increase their value to those who sing them. In this spirit 
all good evangelical Christians will appropriate and use 
the hymns which link national patriotism with Christian 
faith and worship. 

When we think of patriotic hymns that which first comes 
to out minds is "My Country, 'Tis of Thee," the hymn 
which by common consent is called "Our National An- 


My country, 'tis of thee, 
Sweet land of liberty, 

Of thee I sing; 
Land where my fathers died. 
Land of the Pilgrim's pride. 
From every mountain side 

Let freedom ring. 

My native country, thee. 
Land of the noble, free. 

Thy name I love; 
I love thy rocks and rills, 
Thy woods and templed hills; 
My heart with rapture thrills 

Like that above. 

Let music swell the breeze. 
And ring from all the trees. 

Sweet freedom's song; 
Let mortal tongues awake, 
Let all that breathe partake, 
Let rocks their silence break. 

The sound prolong. 


Our fathers' God, to Thee, 
Author of Hberty, 

To Thee we sing; 
Long may our land be bright 
With freedom's holy light; 
Protect us by Thy might, 

Great God, our King. 

The author of these words, the Rev. Samuel Francis 
Smith, D. D., says of their origin: 'The song was written 
at Andover during my student life there, I think in the 
winter of 1 83 1-3 2 . It was first used pubHcly at a Sunday- 
school celebration of July 4th, in the Park Street Church, 

When we consider the popularity of this song and its 
practically universal use, we can appreciate the lines of a 
classmate of Dr. Smith, Oliver Wendell Holmes, who 

"And there's a nice fellow of excellent pith. 
Fate tried to conceal him by naming him Smith." 

It is most interesting to note what Hezekiah Butter- 
worth, a leading American hymnological authority, says 
concerning this hymn and the tune to which we all sing it. 
He says it was "written by Samuel Francis Smith while a 
theological student at Andover, February 2, 1832. He had 
before him several hymn and song tunes which Lowell 
Mason had received from Germany, and, knowing young 
Smith to be a good linguist, had sent to him for transla- 
tion. One of the songs of national character struck 
Smith as adaptable to home use if turned into American 
words, and he wrote four stanzas of his own to fit the tune. 

"Mason printed them with the music, and under his 



magical management the hymn made its debut on a public 
occasion in Park Street Church, Boston, July 4, 1832. 
Its very simplicity, with its reverent spirit and easy-flowing 
language, was sure to catch the ear of the multitude and 
grow into familiar use with any suitable music; but it was 
the foreign tune that, under Mason's happy pilotage, 
winged it for the western world and launched it on its 
long flight. 

The history of this tune is quite interesting. Several 
volumes have been written to set forth its cosmopolitan 
character, as also to prove it to be a Gregorian chant. 
So far as its use in America is concerned its origin seems 
reasonably clear. William C. Woodbridge, of Boston, 
brought a copy of it with him from Germany. The Ger- 
mans had been singing it for years to the words, *'Heil di 
in siegel Kranz." It was by no means their own tune 
exclusively. The Swiss also used it; so did the Swedes and 
the Russians. It has been ascribed to a French composer 
and has been traced to an old Scotch carol. 

The probablity is that certain bars of music very similar 
and possibly identical, when the plain song w^as the com- 
mon style, were produced at different times and places, 
and, ultimately, were merged into one complete tune. 

Henry Carey, an English composer of the eighteenth 
century, is generally credited with having, in 1740, first 
rendered the melody as we now have it. The occasion 
was a public dinner, given in honor of Admiral Vernon, 
after his return from a victorous trip to Brazil. 

The American use of it is clear. Woodbridge found it 
in Germany, brought it to America, gave it to Mason, who 
gave it to Smith, and Smith gave it, through his most 
beautiful words, to the American people as their ''national 



More purely religious and sung to the same tune, that 
which is most frequently used in the services of the church, 
is the following: 

"God bless our native land! 
Firm may she ever stand, 

Through storm and night; 
When the wild tempests rave, 
Ruler of wind and wave, 
Do Thou our country save 
By Thy great might! 

"For her our prayer shall rise 
To God above the skies; 

On Him we wait; 
Thou who art ever nigh, 
Guarding with v/atchful eye, 
To Thee aloud we cry, 

God save the state!" 

It is a singular fact that this hymn has two authors. 
Originally it was credited to J. S. D wight, but later claim 
to authorship was also made by C. T. Brooks. It is now 
generally credited to both. The fact seems to be that both 
these writers translated it from the German. Several 
similar translations are used in England, but claim to 
authorship is also made by William Edward Hickson. 
His translation, however, varies, and is not so good as that 
which is credited as the American translation, but which 
is growing in favor and in use in England. 

There are various stories as to the authorship of the 
music to which these words are sung. The melody itself 
is stirring and the words so in harmony with Christian 
patriotism as we use them in our American version in our 
churches that they fittingly form a part of any patriotic or 
national praise service. 



Oh, say, can you see by the dawn's early light 

What so proudly we hailed at the twilight's last gleaming? 
Whose broad stripes and bright stars through the perilous 
O'er the ramparts we watched, were so gallantly streaming! 
And the rocket's red glare, the bombs bursting in air, 
Gave proof through the night that our flag was still there; 
Oh, say, does that star-spangled banner yet wave 
O'er the land of the free and the home of the brave? 

On that shore dimly seen through the mists of the deep, 
Where the foe's haughty host in dread silence reposes. 
What is that which the breeze, o'er the towering steep. 

As it fitfully blows, now conceals, now discloses? 
Now it catches the gleam of the morning's first beam, 
Its full glory reflected now shines on the stream; 
'Tis the star-spangled banner; oh, long may it wave 
O'er the land of the free and the home of the brave! 

Oh, thus be it ever, when freemen shall stand 

Between their loved homes, and the war's desolation! 

Blest with \'ictory and peace, may the heaven-rescued land 
Praise the power that hath made and preserved us a nation. 

Then conquer we must, for our cause it is just; 

And this be our motto — 'Tn God is our trust"; 

And the star-spangled banner in triumph shall wave 

O'er the land of the free and the home of the brave! 

Often and rightly called our national anthem also, 
Francis Scott Key's ''Star-Spangled Banner" was written 
during the "War of 181 2." It was our last war with 
England. Mr. Key had gone under a flag of truce to the 
British flagship to secure the release of a friend. The 
flagship was at the mouth of the Patapsco River. As 
the British were preparing to attack Fort McHenry, lest 



their plans should be disclosed, Mr. Key was forbidden 
to return. 

Being thus forced to witness the attack on his country's 
flag, he paced the deck of the ship all through the night 
of the bombardment. As day began to break he saw the 
flag still flying at full mast over the fort, his patriotic 
anxiety was so relieved that he exultantly dashed off the 
lines as we now have them. He wrote them with a pencil 
on the back of a letter. As soon as he was released he 
took his lines to the city, and in a few hours they were 
printed on small sheets and circulated and sung on the 
streets to the air of "Anacreon in Heaven." This is the 
tune to which the ''Star-spangled Banner" has ever since 
been sung. 

It is interesting to note that the original flag which waved 
over the fort and at which Key looked as he caught his in- 
spiration in the gray dawn of that eventful morning, was 
made and presented to the garrison by a fifteen-year-old 
girl. She afterward became Mrs. Sanderson, of Balti- 
more. The family still preserves this flag as a relic. 


Mine eyes have seen the glory of the coming of the Lord; 
He is tramping out the vintage where the grapes of wrath are 

He hath loosed the fateful lightning of His terrible swift 

sword ; 

His truth is marching on. 

I have seen Him in the watch-fires of a hundred circling camps; 
They have builded Him an altar in the evening dews and 

I can read His righteous sentence by the dim and flaring 


His day is marching on. 


I have read a fiery gospel, writ in burnished rows of steel; 
''As ye deal with my contemners, so with you my grace shall 

Let the hero, born of woman, crush the serpent with his heel. 
Since God is marching on." 

He has sounded forth the trumpet that shall never call retreat; 
He is sifting out the hearts of men before His judgment-seat; 
Oh, be swift, my soul, to answer Him! be jubilant, my feet! 
Our God is marching on. 

In the beauty of the lihes Christ was born across the sea, 
With a glory in his bosom that transfigures you and me; 
As He died to make men holy, let us die to make men free, 
While God is marching on. 

This hymn, which had its birth in the stirring times of 
the war betw^een the North and the South, was the product 
of the pen of a v.-ell-known woman, Julia Ward Howe. 
Mrs. Howe visited the soldiers camped on the banks of the 
Potomac in 1861. The story is that the trip fatigued her 
greatly and that she slept very soundly. At daybreak 
she awoke and through her mind there began to run the 
lines of a hymn which promised to suit the measure of the 
John BrowTi melody. The hymn was written out, after a 
fashion, in the dark, by Mrs. Howe, who then again fell 

The John Brown melody, which was caught from a 
religious melody, or "Glory Hallelujah" re\dval hymn, w^as 
very popular with the soldiers, who had begun to sing it at 
Fort W^arren in Boston harbor, and had made it the march- 
ing chorus of the northern armies. Mrs. Howe, through 
her poem, has given to the country in the "Battle Hymn 
of the Republic" a hymn which promises to run till battle 
hymns cease to be sung. 


J^ HE fact that Christians are bidden to take up the 
J^^ cross and follow after Christ is in itself an evidence 
^^ that the trials which test faith are a blessing. 
Man is born to trouble. No one escapes the cross. 
Hence it is that the hymns which comfort and cheer are 
hymns with a universal appeal. 

The true attitude of a child of God in facing trial is 
nowhere better expressed than it is in that beautiful 
hymn so expressive of Christian faith and submission to 
the will of God from the pen of Benjamin Schmolcke, 
*'Mein Jesu, wie du willst." The hymn is based on St. 
Mark 14 : 36. It is in very wide use in the German 
churches, and has been translated by various writers, 
finding special favor in American and English hymnals. 
A most excellent translation, which, however, omits 
several of the verses of the original, is that by Miss 

MISS borthwick's translation of schmolcke 's hymn 

My Jesus, as Thou wilt! 

may Thy will be mine! 
Into Thy hand of love 

1 would my all resign. 
Through sorrow or through joy. 

Conduct me as Thine own, 
And help me still to say, 
My Lord, Thy will be done! 


My Jesus, as Thou wilt! 

If needy here and poor, 
Give me Thy people's bread, 

Their portion rich and sure. 
The manna of Thy word 

Let my soul feed upon; 
And if all else should fail, 

My Lord, Thy will be done! 

My Jesus, as Thou wilt! 

Though seen through many a tear, 
Let not my star of hope 

Grow dim or disappear; 
Since Thou on earth hast wept 

And sorrowed oft alone, 
If I must weep with Thee, 

My Lord, Thy will be done! 

My Jesus, as Thou wilt! 

When death itself draws nigh, 
To Thy dear wounded side 

I would for refuge fly. 
Leaning on Thee to go 

Where Thou before hast gone: 
The rest as Thou shalt please: 

My Lord, Thy will be done! 

My Jesus, as Thou wilt! 

All shall be well for me: 
Each changing future scene 

I gladly trust with Thee, 
Thus to my home above 

I travel calmly on. 
Yes, on Thee, my God, I rest, 

Letting life float calmly on. 

Benjamin Schmolcke was a Lutheran pastor at Brauchitz- 
dorf in Silesia. He studied at Leipzig, where he supported 
himself largely by the proceeds of occasional poems which 
he wrote for wealthy citizens. In addition to the revenue 


he thus secured he was also honored for his poetry, being 
crowned as a poet. Born in 1672, he was ordained in 
1 701, becoming assistant to his father in the home church 
at his native place. 

A little of the history of the times in which Pastor 
Schmolcke preached will help us to appreciate the words 
of "My Jesus, as Thou wilt." The Counter-Reformation 
in Silesia resulted in the taking from the Lutherans of all 
the churches in the district in which he lived. Through 
the Peace of Westphalia, in 1648, Lutherans were allowed 
only one church in the whole district, and this church had 
to be built of timber and clay and located outside of the 
walls of the town. Three clergymen were attached to this 
church. They had to serve the people of thirty-six 
villages. They were also greatly restricted in their 
labors. For example, they could not visit the sick and 
give private communion without first securing permission 
from the local Roman Catholic priest. What comfort 
to people under such trials must Pastor Schmolcke's 
"Hymn of Trust" have been! 

A gem in the crown of that great German singer, Paul 
Gerhardt, is one of the most precious hymns for those who 
are in any trial. We refer to his "Befiehl du deine Wege." 

Wesley's translation of gerhardt's hymn 

Commit thoii all thy griefs 

And ways into His hands, 
To His sure truth and tender care, 

Who earth and heaven commands: 

Who points the clouds their course, 

Whom winds and seas obey, 
He shall direct thy wandering feet, 

He shall prepare thy way. 


Thou on the Lord rely, 

So safe shalt thou go on; 
Fix on His work thy steadfast eye, 

So shall thy work be done. 

No profit canst thou gain 

By self-consuming care; 
To Him commend thy cause; His ear 

Attends the softest prayer. 

Thy everlasting Truth, 

Father, Thy ceaseless love, 
Sees all Thy children s wants, and knows 

What best for each will prove. 

And whatsoe'er Thou will'st, 

Thou dost, O King of kings! 
What Thy unerring wisdom chose, 

Thy power to being brings. 

Thou everywhere hast sway, 

And all things serve Thy might; 
Thy every act pure blessing is, 

Thy path unsulHed hght. 

When Thou arisest. Lord, 

What shall Thy work withstand 
When all Thy children want Thou giv'st; 

Who, who, shall stay Thy hand? 

An interesting note concerning this hymn is found in a 
German school book called a "Short History of the 
Evangelical Church hymns," published by Dr. Wangemann 
in 1855, to the effect that Henr>^ Melchior ^luhlenberg, 
patriarch of the Lutheran Church in America, used Ger- 
hardt's "Befiehl du deine W^ege" in the service at the laying 
of the corner-stone of the first Lutheran church in Phila- 
delphia, May 2, 1743. It is also stated by the same 
authority that shortly before Muhlenberg drew his last 
breath, October 7, 1787, he prayed the last verse of this 
same hymn. 


The original hymn is quite long. English congregations 
do not take kindly to the singing of long hymns. For 
this reason it is usually divided into parts in English 
hymn books. It is interesting to note that this beautiful 
hymn of trust from the pen of that great and prolific 
German Lutheran bard, Paul Gerhardt, has come to us 
via the pen of that great English Methodist, John Wesley, 
whose translation is the one in general use. 

A hymn of trust in God which the critics call "classical 
and imperishable," which is only now coming into its 
own among English worshipers, is George Neumark's 
"Wer nur den lieben Gott lasst walten." A poet of no 
mean ability, and a writer of many hymns, this, his finest 
hymn, was born of a personal experience. It is entitled 
a hymn of consolation, and expresses his faith in God 
that He will care for and preserve His own in His own time. 
It is the author's personal interpretation of the words of 
the psalmist, "Cast thy burden upon the Lord and He 
shall sustain thee." 

Of the hymn which was written in December, 1641, 
Neumark, the author himself, says that he wrote it at 
Kiel, when, after unsuccessful attempts to secure employ- 
ment, he became a tutor in the family of the judge, Stephan 
Henning. He was so rejoiced over his good fortune that 
he records that on the very day he secured the position 
he composed the hymn to the honor of his beloved Lord 
who had been so very good to him. 

He had started from his home in Thuringia, where he 
had been born March 16, 162 1, to travel with some mer- 
chants to Koenigsberg, where he intended to enter the 
university. The party was robbed en route. Young 
Neumark was left with a very little money sewed in his 


clothing and his prayer-book. He tried to get employment 
in JMagdeburg, Hamburg, and a number of other places, 
and was really in destitute circumstances when, at Kiel, 
through the influence of a friend, he secured the position 
as a tutor that gave him his start and eventually made it 
possible for him to secure the university education which 
he sought. It is an illustration of that trusting faith 
which looks to God for guidance and gives encouragement 
to cast our every care upon Him, for He careth for us. 

neumark's hymn of trust 

If thou but suffer God to guide thee, 
And hope in Him through all thy ways, 

He'll give thee strength, whate'er betide thee, 
And bear thee through the evil days; 

Who trusts in God's unchanging love 

Builds on the rock that naught can move. 

What can these anxious cares avail thee, 
These never-ceasing moans and sighs? 

What can it help, if thou bewail thee 
O'er each dark moment as it flies? 

Our cross and trials do but press 

The heavier for our bitterness. 

Only be still and wait His leisure 

In cheerful hope, with heart content 
To take whate'er thy Father's pleasure 

And all deserving love hath sent; 
Nor doubt our inmost wants are known 
To Him who chose us for His own. 

All are alike before the Highest; 

'Tis easy to our God, we know, 
To raise thee up though low thou liest, 

To make the rich man poor and low; 
True wonders still by Him are wrought 
Who setteth up and brings to naught. 


Sing, pray, and keep His ways unswerving, 

So do thine own part faithfully, 
And trust His word, though undeserving, 

Thou yet shall find it true for thee; 
God never yet forsook at need 
The soul that trusted Him indeed. 

The translation which we have furnished is by Miss 
Winkworth, who is one of the most prolific of translators 
of German hymns into English. Miss Winkworth was 
born in London. She was intensely interested in practical 
work for women, and to develop an interest in their behalf 
translated and published the "Life of Pastor Fliedner," 
the founder of the Sisterhood of Protestant Deaconesses, 
at Kaiserswerth. While she did a splendid work in the 
sphere of higher education for women, her monument is 
found in the large contribution she has made to the treas- 
ures of English hymnody by her numerous translations 
of German hymns. Her translations are the most widely 
used of any, and she has had much to do with the making 
popular of German hymns in the worship of English 
congregations. In this work she has rendered a perma- 
nent service to the Christian church which cannot be 

The aspiration of the Christian, as well as the hope which 
sustains him in the valley of tribulation, finds expression in 
a beautiful hymn by the Rev. Wm. Augustus Muhlenberg. 
It is a hymn which gives strength for present trials by 
pointing out the way through trials and the tomb through 
Christ to fellowship and eternal presence with the saints 
of the ages in the joys of everlasting fellowship with God. 
Muhlenberg, in the stanzas of this hymn, pictures the 
life that now is and the magnet of the life that is to be. 




I would not live alway; I ask not to stay- 
Where storm after storm rises dark o'er the way; 
The few lurid mornings that dawn on us here 
Are enough for life's woes, full enough for its cheer. 

I would not live alway, thus fettered by sin; 
Temptations without, and corruption within; 
E'en the rapture of pardon is mingled with fears, 
And the cup of thanksgiving with penitent tears. 

I would not live alway; no, welcome the tomb; 
Since Jesus hath lain there, I dread not its gloom; 
There sweet be my rest, till He bid me arise, 
To hail Him in triumph descending the skies. 

Who, who would live alway, away from his God, 
Away from yon heaven, that blissful abode, 
Where the rivers of pleasure flow o'er the bright plains. 
And the noontide of glory eternally reigns. 

WTiere the saints of all ages in harmony meet, 
Their Saviour and brethren, transported, to greet; 
While the anthems of rapture unceasingly roll. 
And the smile of the Lord is the feast of the soul? 

This hymn had rather an unusual origin. A young 
lady asked Dr. Muhlenberg to write a verse in her auto- 
graph album. This was in 1824. He sat do"wn and dashed 
off sLx eight-line verses, beginning, "I would not live alway." 
The h>Tnn as we now" have it is the same in sentiment, 
although he rcTNTote it a few years later, and gave it its 
present perfect form when he was asked to contribute a 
h>Tnn for publication in the Episcopal Recorder, where it 
was first published, June 3, 1826. No credit was given to 
the author with the original publication. It, however, 


soon became known who wrote it, and the hymn itself 
found its way quickly into a number of the standard 
American hymnals. 

The words of this hymn have become inseparably 
linked with the tune "Frederick," which was composed 
and published by Mr. George Kingsley in 1833. Attempts 
have been made to give the hymn another tune, but 
words and melody so harmonize that the two are likely 
to continue to be used together. 

The author, a clergyman of the Protestant Episcopal 
Church, was a great-grandson of the Patriarch of the 
Lutheran Church, Henry Melchior Muhlenberg. He was 
a grandson of the First Speaker of the United States 
House of Representatives, Frederick Augustus Muhlen- 
berg. He was lost to the Lutheran Church through the 
failure to provide English services when he was a boy. 
He thus attended an Episcopal Sunday school, and 
eventually became an Episcopal clergyman. He is known 
chiefly as an eduactor and philanthropist. He wrote a 
number of hymns. In addition to the above, perhaps his 
best-known hymns are 'Xike Noah's weary dove" and 
"Saviour, like a Shepherd lead us." 




USIC soothes; the message of the hymn comforts 
and reaches the soul. Facing eternity, with the 
grave opening, many have found in the words of 
some appropriate hymn the thoughts which have 
directed the mind, and in the melody the soothing of the 
soul. The true Christian often will, as death approaches, 
relive some of the happiest of his Christian experiences and 
find in them exactly that which he needs to carry him 
over the breakers on the bar into the depths of the joys of 
the eternal, to which his soul is translated. For this very 
reason messages which are found in many of the hymns of 
the living are the stay of the soul when dying. An 
incident will illustrate. The writer quoted in a Reforma- 
tion address, some years ago, the words of that hymn of 
the Church: 

**My Church! my Church! my dear old Church! 
My fathers' and my own! 

A lady in the audience impressed by it, secured the 
book containing it, learned it and frequently sang it. 
When English was introduced into her home church, she 
saw to it that the book to be used contained this hymn. 
Later, in a long illness which ended in her death, it was 
the means of bringing comfort and staying the faith of 
a patient sufferer who entered into life while those at her 
bedside, at her request, were repeating the words from this 



*'My Church! my Church! I love my Church! 

For she doth lead me on 
To Zion's palace beautiful, 

Where Christ the Lord hath gone. 
From all below she bids me go, 

To Him, the Life, the Way, 
The Truth, to guide my erring feet 

From darkness into day. 

Thus many hymns of Christian experience are especially 
helpful for the dying, and comforting to the living who 
mourn. But there are hymns which seem solely to be 
messages of comfort for those who mourn the departure of 
loved ones. Among these is one which was penned by a 
woman, Margaret Mackay, which will be the very first 
to come into the minds of most people as a hymn of this 

A woman's hymn concerning death 

Asleep in Jesus! blessed sleep. 
From which none ever wakes to weep: 
A calm and undisturbed repose. 
Unbroken by the last of foes. 

Asleep in Jesus! oh, how sweet 

To be for such a slumber meet; 

With holy confidence to sing 

That death has lost his venomed sting. 

Asleep in Jesus! peaceful rest, 
Whose waking is supremely blest: 
No fear, no woe, shall dim that hour 
That manifests the Saviour's power. 

Asleep in Jesus! oh, for me 

May such a blissful refuge be! 

Securely shall my ashes lie. 

And wait the summons from on high. 



The hymn which appeared first in ''The Amethyst; 
or, Christian Annual," for 1832, was occasioned by the 
author, Mrs. Mackay, of Hedgefield, England, reading an 
inscription on a tombstone in a rural burying-ground in 
Devonshire. Later, in writing concerning her verses, the 
writer says, the burying-ground referred to is that of 
Pennycross Chapel. It is a few miles distant from a 
busy seaport, and is reached by a succession of lovely 
green lanes. The quiet aspect of the Pennycross "God's 
Acre" comes soothingly over the mind, suggesting at once 
the thought of ''Sleeping in Jesus." Certainly the thought, 
which is the thought of Christ and strictly biblical, is 
beautifully emphasized for the comforting of countless 
mourning ones, as well as for the staying of the souls of 
many as they are about to fall into that sleep which knows 
no earthly awakening. 

Another beautiful hymn, which is primarily a hymn for 
Easter and is included in various collections of Easter 
hymns, but which is a most comforting message for those 
who are in the valley of the shadow of death, is also 
credited to the pen of a w^oman. It comes to us from that 
rich storehouse of hymnology, the German. The hymn 
was written in 1653, and mil have added interest after 
the story of the author is known. 


Jesus Christ, my sure defence 

And my Saviour, ever liveth; 
Knowing this, my confidence 

Rests upon the hope it giveth, 
Though the night of death be fraught 
Still with many an anxious thought. 


Jesus, my Redeemer, lives! 

I, too, unto life must waken; 
He will have me where He is: 

Shall my courage, then, be shaken? 
Shall I fear? Or could the Head 
Rise and leave its members dead? 

Nay, too closely am I bound 

Unto Him by hope forever; 
Faith's strong hand the Rock hath found, 

Grasped it, and will leave it never: 
Not the ban of death can part 
From its Lord the trusting heart. 

What now sickens, mourns and sighs, 
Christ with Him in glory bringeth; 

Earthy is the seed that dies. 

Heavenly from the grave it springeth. 

Natural is the death we die, 

Spiritual our life on high. 

Saviour, draw away our heart, 

Now from pleasures base and hollow, 

Let us there with Thee have part, 
Here on earth Thy footsteps follow. 

Fix our hearts beyond the skies, 

Whither we ourselves would rise. 

The translation v/hich we have given was made by Miss 
Winkworth in 1862, and is one of the many rich additions 
to English hymnody which have come from German sources 
from the facile pen of the ready translator who dearly 
loved the devotional and spiritual hymns of the Germans — 
Miss Catherine Winkworth. 

Louise Henriette, electress of Brandenburg, to whom 


this hymn is credited, was a beautiful character. She was 
the daughter of the Prince of Nassau-Orange of the 
United Netherlands, and was born near The Hague, 
November 27, 1627. She married the Elector Friederich 
Wilhelm of Brandenburg in 1646. On July 11, 1657, she 
became the mother of a son who afterward became King 
Friederich I of Prussia. A woman of noble character, a 
member of the Reformed Church, who earnestly desired 
to cultivate peace and fellowship with the Lutherans, and 
a special friend of Paul Gerhardt, she busied herself in the 
work of her husband and proved a true mother to her 
people. The hymn above, together with a number of 
others, was published through her efforts in a Union Hymn 
Book, by Christoph Runge. To this book she contributed 
four hymns. Runge, in his dedication of the book to her, 
says she had ' 'augmented and adorned it with your own 
hymns." While some have thought that these were 
merely hymns which she loved and which had been placed 
in the book at her request, yet in view of Runge's state- 
ment and the lack of any evidence of other authorship, and 
her own beautiful character and personal talents, this 
hymn, w^hich is given place among the hymns of first rank, 
promises to continue to be recognized as the work of the 
devout electress of Brandenburg. 

Paul Gerhardt has given us a beautiful hymn of the 
heavenly spirit which makes us, as pilgrims and strangers, 
feel a longing for the ''eternal joys before." Written in 
1666, and widely used by Germans, the hymn, as translated 
by Jane Borthwick in 1858, has found great favor with 
English-speaking Christians. It is used on various 


gerhardt's "ich bin ein cast auf erden" 

A pilgrim and a stranger, 

I journey here below; 
Far distant is my country, 

The home to which I go. 

Here I must toil and travail. 

Oft weary and opprest, 
But there my God shall lead me 

To everlasting rest. 

There still my thoughts are dwelling, 

'Tis there I long to be: 
Come, Lord, and call Thy servant 

To blessedness with Thee! 

Come, bid my toils be ended. 

Let all my wanderings cease; 
Call from the wayside lodging 

To the sweet home of peace! 

There I shall dwell forever, 

No more a stranger guest, 
With all Thy blood-bought children, 

In everlasting rest; 

The pilgrim toils forgotten, 

The pilgrim conflicts o'er, 
All earthy griefs behind us, 

Eternal joys before! 

Perhaps the chief hymn of the Latin Church is the 
''Hora Novissima," by Bernard of Cluny. He named it 
^'De Contemptu Mundi" ("Concerning Disdain of the 
World"). Ordinarily it is broken up into three distinct 
portions and treated as if each part were a distinct and 
separate hymn. The first portion is expressive of the 
contempt of this world. The second portion is the real 
"Laus Patriae Coelestis." Divided, it gives us the two 


hymns which are the best legacy to Christendom which 
we have from Bernard of Climy. The author, the son 
of English parents, was born at MorlaLx, France, about 
1 100. He is called Bernard of Cluny because he Uved 
and wTote in a French town by that name. The trans- 
lator, who has condensed the original very gracefully, 
was Dr. John Mason Neale. The most familiar and most 
widely used portion is "Jerusalem the Golden," which has 
its o'WTi distinctive tune, written by Alexander Ewing, a 
paymaster in the English army. 


Jerusalem, the golden, 

With milk and honey blest! 
Beneath thy contemplation 

Sink heart and voice opprest: 
I know not, oh, I know not, 

What social joys are there! 
What radiancy of glor>% 

What light beyond compare! 

And when I fain would sing them 

My spirit fails and faints, 
And vainly would it image 

The assembly of the saints. 
They stand, those halls of Zion, 

Conjubilant with song, 
And bright with many an angel, 

And all the martyr throng. 

There is the Throne of David; 

And there, from care released, 
The song of them that triumph. 

The shout of them that feast; 
And they who, with their Leader, 

Have conquered in the fight, 
Forever and forever 

Are clad in robes of white! 


"j^^ HERE are several general favorites among English 
^m^ hymns which are used by practically all Chris- 
^^ tians. We know the hymns so well that we forget 
the writers and merely appropriate and sing what 
they wrote. We refer to the hymns — "Jesus, Lover of 
My Soul," "Rock of Ages, Cleft for Me," and "Nearer my 
God to Thee." 

It has been said of the hymn, "Jesus, Lover of My Soul," 
that it is the masterpiece of Charles Wesley, and that if 
"this were the only hymn he ever wrote, and the only ser- 
vice he ever rendered to humanity, it is sufficient to im- 
mortalize his name." 

A beautiful story is told concerning the origin of this 
hymn. Mr. Wesley was standing before the open window 
of his room one morning. He was looking out over the 
beautiful landscape which was in front of his home. As 
he looked he saw a little song bird which was being chased 
by a cruel hawk. The poor bird was badly frightened, 
and seeing the open window, flew through it and directly 
into Mr. Wesley's arms. With fluttering heart and quiv- 
ering wing it nestled close to the singer and escaped a 
cruel death in the talons of the hawk. According to the 
story, Mr. Wesley himself was just then having some 
personal trials and was feeling the need of a refuge just as 
the little bird, which had flown into his bosom for protecr 
tion. Out of this incident, and his personal experience, 



he took up his pen and produced the masterpiece of his 
many hymns. 

The hymn was first pubUshed in 1740, in ''Wesley's 
Hymns and Sacred Poems." It has found its way into 
nearly every evangelical hymn book of the present day. 
In its wide use it is an example of the "communion of 
saints" which we confess in the Creed. 

Wesley's hymn which points to christ as saviour 

Jesus, Lover of my soul, 

Let me to Thy bosom fly, 
While the nearer waters roll. 

While the tempest still is high! 
Hide me, O my Saviour, hide, 

Till the storm of life is past; 
Safe into the haven guide; 

O receive my soul at last! 

Other refuge have I none; 

Hangs my helpless soul on Thee: 
Leave, ah, leave me not alone. 

Still support and comfort me! 
All my trust on Thee is stayed, 

All my help from Thee I bring: 
Cover my defenceless head 

With the shadow of Thy wing. 

Thou, O Christ, art all I want; 

More than all in Thee I find: 
Raise the fallen, cheer the faint, 

Heal the sick, and lead the blind. 
Just and holy is Thy Name; 

I am all unrighteousness: 
False and full of sin I am; 

Thou art full of truth and grace. 


Plenteous grace with Thee is found, 

Grace to cover all my sin; 
Let the healing streams abound; 

Make and keep me pure within. 
Thou of life the Fountain art, 

Freely let me take of Thee: 
Spring Thou up within my heart, 

Rise to all eternity. 

An interesting incident is recorded concerning this hymn 
which should, if that is possible, increase our appreciation 
of it as a hymn of faith and consolation in times of tempta- 
tion and of trouble. A United Presbyterian clergyman 
was serving under the Christian Commission during the 
"War between the States." His duties took him out 
on the battlefield after the day's fighting was done. Here 
he came across a dying soldier, and asked him if he could 
do anything for him. He ministered to his physical 
wants and relieved him in every way possible. He asked 
if he could do anything more. The dying soldier said, 
"Please sing to me 'Jesus, Lover of My Soul.' " Although 
belonging to a Church that never sang hymns, he could 
not refuse the request of the dying soldier. Softly and 
tenderly he sang as he never sang before, with the thought 
that his singing was comforting a human soul in its ex- 
tremity. The account says: "As the words floated out 
in the darkness, where the dead and the wounded lay, 
a strange quiet, like that of a great benediction, fell upon 
the earth, and the dying man clasped the hand of the 
singer with a heart full of gratitude. And he sang on: 

" 'Hide me, my Saviour, hide, 
Till the storm of life is past; 
Safe into the haven guide; 
O receive my soul at last!' " 


"With the closing strains there seemed to come a sweet 
peace over the dread battle plain. The soldier relaxed his 
grasp; the prayer was heard." 

The effect of the singing on the battlefield that night 
awakened this thought in the heart of that minister — if 
this hymn will do to die by, it will do to live by. It was 
in his after ministry a chief source for bringing comfort 
to dying souls. Its heart appeal and its implicit faith 
make it a hymn which belongs to every true child of God. 

That great German Lutheran theologian, Tholuck, 
once exclaimed to a class of his students, "I have but one 
passion. It is He! It is He!" That is the inner spirit 
of this hymn from the pen of Wesley. This explains why 
this hymn of the Methodist has been adopted and found 
such a large place in the hearts of the people of all evan- 
gelical churches. 


In the year of American Independence, the March 
number of The Gospel Magazine contained a very remark- 
able article. It was called, "A Remarkable Calculation: 
Introduced here for the sake of the spiritual improvement 
subjoined Questions and Answers relative to the National 
Debt." In this article, by numerical calculations, man's 
sins are shown to be very numerous. By a most ingenious 
calculation, on the basis of so many sins per day, per hour 
and minute, the argument comes to a climax in overwhelm- 
ing him with his frightful helplessness if he were to redeem 
himself from his debts. The purpose is to show the un- 
speakable value of Christ's atonement. Then follows as 
a "living and dying prayer for the holiest believer in the 
world," this hymn, which, because it so well expresses the 


feeling of every true Christian, has found a place not only 
at the close of this unique article, but in nearly every 
evangelical hymn book published. 

"rock of ages" 

Rock of Ages, cleft for me, 

Let me hide myself in Thee! 

Let the water and the blood, 

From Thy riven side which flowed, 

Be of sin the perfect cure, 

Save me, Lord, and make me pure. 

Not the labors of my hands 
Can fulfill Thy law's demands: 
Could my zeal no respite know, 
Could my tears forever flow. 
All for sin could not atone; 
Thou must save, and Thou alone! 

Nothing in my hand I bring. 
Simply to Thy cross I cling; 
Naked, come to Thee for dress; 
Helpless, look to Thee for grace; 
Foul, I to the Fountain fly; 
Wash me, Saviour, or I die! 

While I draw this fleeting breath, 
When my eyelids close in death. 
When I soar to worlds unknown. 
See Thee on Thy judgment throne, 
Rock of Ages, cleft for me. 
Let me hide myself in Thee! 

The author was Augustus M. Toplady. He was or- 
dained a minister of the Church of England when he was 
only twenty-two years of age. He died when he was only 
thirty-eight years old. If he had done nothing more than 


write this one hymn his life would have been richly fruit- 
ful and a real blessing to the cause of Christianity. The 
exact date of the writing of the hymn is not known. It 
was first published in its complete form, as we now have 
it and use it, in March, 1776. 

A most interesting story is told concerning its origin, 
through which the author and the hymn are very closely 
associated with Wesley, the great hymn writer. Ac- 
cording to the story, Wesley, the Methodist, and Toplady, 
the Anglican churchman, met and were drawn into a very 
heated argument over some current theological questions. 
They argued until long after midnight. Neither yielded 
a point. When they separated Toplady was wrought 
up to a high state of spiritual excitement. 

Not being able to sleep, he sat and thought. In a 
moment of exultation the words of this hymn began to 
run through his mind. He took a piece of paper and began 
to write. Before dawn he had produced this his master 
hymn and the one product of his mind which will perpet- 
uate his name and memory in the Evangelical Church. 

Under the thought of that earlier hymn, ''Jesus, Lover 
of My Soul," and the newer, "Rock of Ages," even if 
the authors did engage in fruitless controversy, there is a 
unity of faith which places the hymns of the theological 
contenders side by side in nearly every evangelical hymn 
book. We have here a fresh proof of the truth of that 
which we confess in our Apostles' Creed, namely, "I believe 
in the holy Christian Church, the communion of saints." 

England's great premier, Mr. Gladstone, counted this 
his favorite hymn. He translated it into both Greek 
and Italian. It is said concerning his Italian trans- 
lation that on a certain occasion a most bitter at- 
tack was made on him in the House of Commons. 


While his opponent spoke most bitterly and vehemently, 
others noticed that Mr. Gladstone was writing very 
diligently. They supposed he was writing notes and 
framing a reply. One sitting near him, curious to learn 
how he could retain such a calm demeanor while being so 
bitterly attacked, looked over his shoulder and discovered 
that he was writing an Italian translation of Toplady's 
hymn. As a matter of interest, we quote the first stanza 
of Mr. Gladstone's Italian translation: 

"Jesus, pro me perforatus, 
Condar, intra tuum latus, 
Tu per lympham profluentum, 
In peccatti mi redunda 
Tulle culpam, sordes, munda! 

A missionary who wished to have this hymn translated 
into the dialect of one of the Hindu tribes was not so 
fortunate. He secured a Hindu scholar, and asked him 
to translate it. The Oriental began his translation, which, 
of course, was a failure, as follows: 

'Very old stone, split for my benefit, 
Let me get under one of your fragments. 


While speaking of the missionary use of this hjnnn, it is 
reported by one of the missionaries to the suffering people 
of Armenia, that he was deeply impressed when he heard 
an Armenian congregation singing ''Rock of Ages" in 
their language. The people sang with tears in their eyes 
and seemed to feel the force of the words to an unusual 

Another missionary story of this hymn comes from the 
royal palace of Queen Victoria, and occurred during the 



time of the Golden Jubilee of her reign. A native of 
Madagascar presented himselt and delivered the greetings 
of his people. He then asked the privilege of singing. 
Naturally the court expected him to sing one of their 
native songs. Instead, however, the privilege being 
granted, he sang in a most touching manner, Toplady's 
"Rock of Ages." His whole attitude was as if he felt that 
the truth of this hymn had brought the blessing to his 
life which made him what he was. 

When we understand that Christ is our Rock; that the 
rock suggests strength, solidity, power, majesty, per- 
manency, then we find the secret of the universal hold 
which this hymn has on the minds and hearts of Chris- 
tian people. 

An ill-fated steamer went down in a turbulent sea. 
The passengers were clinging to life-preservers and wreck- 
age. A young wife said to her husband, "I can hold on 
no longer." Her husband replied, "Try a little longer, and 
let us sing, 'Rock of Ages.' " They sang, others joined in 
the singing. From amid the perilous waters rose this 
sweet, pleading prayer: 

"Rock of Ages, cleft for me, 
Let me hide myself in Thee! 

The song inspired the singers, heartened them so that 
they held on till the life-savers from the shore reached 
and saved them. Many besides the husband and wife 
owed their physical lives to the sweet notes of Toplady's 
"Rock of Ages." 

The circumstances of the first publication of these 
verses justify the spiritualizing of this incident from the 
stormy sea. Without a doubt thousands have been 


directed for their salvation to the only Rock which will 
protect them from the stormy billows of sin and tempta- 
tion which would otherwise overwhelm and destroy 

When we study the meaning and get into the heart of 
the great hymns of the Church, learn the motive for their 
production and the spirit in which they have been used, 
we begin to realize the richness and the blessing for true 
worship found in the hymns of the sanctuary. 


For many years this hymn has been a general favorite. 
It rivals "J^sus, Lover of My Soul" and "Rock of Ages" 
for popularity among all classes of people in all parts of 
the world. The secret of its popularity lies in the fact 
that the hymn appeals so strongly to the human heart. 

It is of special interest to note that the author of this 
hymn, Mrs. Sarah Fuller Adams, was a Unitarian. She 
was the daughter of Benjamin Flower and his wife, who was 
before their marriage Miss Eliza Gould. Mr. Flower was 
an editor, who wrote a series of articles in which he defended 
the French Revolution. The House of Lords took offence 
at the articles. He was fined and sent to Newgate Prison 
for six months. Miss Gould, who spent her time visiting 
prisoners, ministering to their temporal and spiritual wel- 
fare, made his acquaintance during the time he was in 
prison. The acquaintance ripened into love and terminated 
in their marriage. They had two daughters, one of whom 
was the author of "Nearer, My God, to Thee." 

A political offence thus became the occasion which 
established the home in which was reared the Unitarian 
author of a hymn of which a leading hymnologist has 


said, ''It has become a classic in hymnology and is uni- 
versally beloved and approved by all branches of the 

Mrs. Adams, who was born at Great Harlow, Essex, 
England, in 1805, very early in life gave evidence of un- 
usual literary talent, writing many essays and poems. 
She also displayed dramatic talent and at one time con- 
templated becoming an actress, but fortunately did not 
carry out her impulse. 

Her fame today rests on this hymn, which she wrote 
after her marriage to Mr. William B. Adams, who was a 
civil engineer and journalist, living in London. The 
hymn was first published by her pastor in 184 1. It was 
included in a volume of "Hymns and Anthems" to which 
Mrs. Adams contributed thirteen poems. Of these 
"Nearer, My God, to Thee" is the only one which re- 
mains in general use. 


Nearer, my God, to Thee, 

Nearer to Thee! 
E'en though it be a cross 

That raiseth me; 
Still, all my song shall be, 
Nearer, my God, to Thee, 

Nearer to Thee! 

Though, like a wanderer, 
The sun gone down. 

Darkness be over me, 
My rest a stone, 

Yet in my dreams I'd be 

Nearer, my God, to Thee, 
Nearer to Thee! 


There let my way appear 

Steps unto heaven; 
All that Thou sendest me 

In mercy given; 
Angels to beckon me 
Nearer, my God, to Thee, 

Nearer to Thee! 

Then with my waking thoughts 

Bright with Thy praise. 
Out of my stony griefs 

Bethel I'll raise; 
So by my woes to be 
Nearer, my God, to Thee, 

Nearer to Thee! 

Or if on Joyful wing 

Cleaving the sky. 
Sun, moon, and stars forgot, 

Upward I fly; 
Still, all my song shall be, 
Nearer, my God to Thee, 

Nearer to Thee! 

The tune to which this hymn is sung and which is a 
large factor in its wide popularity, is from the pen of Dr. 
Mason, who was also the composer of the * 'Missionary 
Hymn," which is inseparably linked with Bishop Heber's 
great popular hymn, "From Greenland's Icy Mountains." 
The tune is known by the name ''Bethany." 

At a great jubilee in Boston in 1872 "Nearer, My God, 
to Thee" was sung to this tune. The singing was led by a 
group of renowned musical artists and listened to by Dr. 
Mason, the author of the music. This occurred a few 
weeks before the venerable musician died. The singing 
made a profound impression. 


There are some most interesting stories told which 
illustrate the universal familiarity of people with this 

A group of tourists, on a certain August day, found the 
top of Pike's Peak enveloped in mist. For an hour or 
more they gathered around the fire in the block-house to 
keep warm and tried to get acquainted. After several 
attempts to sing ''popular songs," which only a few knew, 
someone started to sing "Nearer, My God to Thee." 
All joined in the singing and all felt at home. As the 
singing ended the mists suddenly rolled away and with 
joy a happy body of tourists rushed out to look upon a 
most wonderful view. 

Some travelers in Palestine as they journeyed heard 
snatches of the tune "Bethany." Drawing nearer to the 
place whence the sound came, they saw a group of Syrian 
students singing "Nearer, My God, to Thee" in Arabic. 
These youthful natives using strange words but a familiar 
tune, and singing with so much feeling, made a deep im- 
pression on the minds of those tourists, who, through the 
singing in the strange tongue of the well-known tune, gave 
a vocal realization, so to speak, of the communion of 

Another tourist in the Holy Land tells of his visit to the 
site of "Jacob's Ladder." He says: "As we stood there, 
where heaven had once come so near to earth, there was 
not one in all our large party who did not share, in some 
degree, in that ladder vision which Jacob had; and you 
will not be surprised to know that we fell into such a mood 
that, without a word of suggestion, all sang together 
with deepest feeling, 'Nearer, My God to Thee.* Who 
can say that Jacob's vision did not become ours as we 
softly chanted the trustful, prayerful words?" 


The testimony of a prominent chaplain during the 
Spanish-American War was that in his services as chaplain 
on ships and in camps and in the hospitals the men al- 
ways entered most heartily into the singing of this hymn. 
Men who were rough and ready, and even profane, would 
join with their more religious comrades in the singing of 
many of the hymns, and especially when * 'Nearer, My 
God, to Thee" was sung. 

At the time of the terrible Johnstown flood, in 1889, 
a most pathetic incident occurred. Imprisoned in the 
wreckage of a train there was a woman missionary who 
was en route for the mission fields. She was pinioned 
between seats and in view of many people who could 
not reach and save her because of the raging waters, which 
gradually rose, making certain her death. She was seen 
to pray, then she began to sing "Nearer, My God to Thee."- 
The people listened breathlessly. Before the last words 
of the hymn had been sung the voice was stilled. The 
singer finished the last notes beyond the skies. 

The late King Edward of England said of this hymn 
that ''among serious hymns there is none more touching, 
nor one that goes more truly to the heart." It was also 
the favorite hymn of the late President McKinley. His 
last intelligible words, spoken just before his soul took its 
flight, were: " 'Nearer, my God, to Thee, e'en though it be 
a cross,' has been my constant prayer."' 

This fact caused the use of the hymn not only at his 
funeral in Canton, Ohio, but at memorial services all over 
this country and at special memorial services abroad, espe- 
cially in Westminster Abbey, by order of King Edward, 
who listened devoutly while the whole notable assem- 
blage joined in the singing of "Nearer, My God, to 


The story comes from the sea in the account of the sink- 
ing of that giant ship, "The Titanic," that when the 
"imsinkable" ship was found to be doomed the band began 
to play "Nearer, My God, to Thee." They continued to 
play until there was a deafening roar. A mighty wave had 
engulfed the great ship. The players had gone to meet 
their God. 

Mrs. Adams was a Unitatian, and popular as her hymn 
is, critical analysis of the thought in it has made many feel 
that the emphasis is incorrectly placed. For this reason, 
at various times, WTiters have attempted to re\4se the 

In discussing a number of hymns before a class of theo- 
logical students, the Rev. Dr. H. E. Jacobs, in 1887, 
pointed out the respects in which Mrs. Adams' hymn was 
not as expressive as it should be. The class showed in- 
terest, and the result was the writing of another h}Tnn, 
which was first published in The Indicator, of the Phila- 
delphia Theological Seminary in January, 1889. This 
special version of "Nearer, My God, to Thee" has found 
its way into several h^Tun books, notably the new Lutheran 
"Common Ser\^ce Book." It is sung, however, not to 
Dr. Mason's "Bethany," but to the tune "Kedron," 
by A. B. Spratt. Just for the purpose of comparison we 
append this second "Nearer, My God to Thee." 


Nearer, my God to Thee, 

Nearer to Thee! 
Through Word and Sacrament, 

Thou com'st to me. 
Thy grace is ever near, 
Thy Spirit ever here, 

Drawing to Thee. 


Ages and ages rolled, 
Ere earth appeared, 

Yet Thine unmeasured love 
The way prepared; 

Long hast Thou yearned for me, 

That I might nearer be, 
Nearer to Thee! 

Thy Son has come to earth. 

My sin to bear, 
My every wound to heal, 

My pain to share. 
"God in the flesh" for me. 
Brings me now nearer to Thee, 

Nearer to Thee! 

Lo! all my debt is paid, 

My guilt is gone. 
See! He has risen for me, 

My throne is won. 
Thanks, O my God, to Thee! 
None now can nearer be, 

Nearer to Thee! 

Welcome then to Thy home. 
Blest One in Three, 

As Thou hast promised, come! 
Come, Lord, to me! 

Work Thou, O God, through me, 

Live Thou, O God, in me. 
Ever in me! 

Surely it matters not 
What earth may bring. 

Death is of no account, 
Grace will I sing. 

Nothing remains for me, 

Save to be nearer Thee, 
Nearer to Thee! 



CHE most famous h>Tnn of the Church is that great 
hymn which is a confession in song and which has 

gggg come do-^Ti to us from the fourth century, 
namely, the Te Deum, written by Ambrose, 
Bishop of Milan, A. D. 387. 

Tradition brings to us an interesting story of the birth 
of the Te Deum. According to this tradition it was 
composed on Easter Sunday, the honor of its composition 
being divided in the tradition between Ambrose and his 
eminent convert, Augustine. 

According to the story it was the day when the bishop 
baptized Augustine in the presence of a vast congregation 
that crowded the Basilica of Milan. With a prophetic 
vision, realizing the eminent career which was before the 
candidate for baptism as one of the ruling stars of Chris- 
tendom, Ambrose lifted his hands to heaven and chanted 
in a holy rapture — 

"We praise Thee, O God! We acknowledge Thee to be the 
All the earth doth worship Thee, the Father everlasting. 

As he paused from the lips of the convert Augustine 
came the response — 

"To Thee, all the angels cry aloud: the heavens and all the 
powers therein. 
To Thee cherubim and seraphim continually do cry, 
'Holy, holy, holy Lord God of Sabaoth; 
Heaven and earth are full of the Majesty of Thy glory!' " 



In this manner the two continued until stave by stave, 
in alternating strains from the Hps of these two, Ambrose 
and Augustine, there sprang on that Easter Day from 
the lips of Ambrose and Augustine, the great "Te 
Deum," the unquestioned standard anthem of Christian 

Whether this is only tradition or the actual story of the 
manner in which this great hymn came into being we do 
not know. Excellent and reliable authorities question its 
probability. The tradition nevertheless adds a charm to 
the prevalent use w^hich brings out with greatest effect 
both the music and the meaning when the hymn is sung 

Antiphonal singing compels attention and participation 
and adds beauty and impressiveness to the many chants 
of the church. This ancient method of singing is again 
coming into favor in an increasing number of the churches. 
The practice dignifies w^orship and adds a charm to the 
singing which carries choir and congregation together to 
the loftiest heights nearest to God which are the privilege 
of those who still abide in the flesh. How thankful we 
should be that it is our privilege to make use of this 
ancient method of chanting the praises of God. 

Commenting on the traditional story of the writing of the 
Te Deum, Hezekiah Butterworth, an eminent authority, 
says, ''Whatever the foundation of the story, we may at 
least suppose the first public singing of the great chant to 
have been associated with the baptism of Augustine." 

We see in this tradition and evidence of fact, new sig- 
nificance for the Te Deum as a special anthem for Easter 
and other Festival occasions. The real beauty and ef- 
fectiveness of much that is used in worship is only fully 
appreciated when we associate its use with its origin and 


observe the times and seasons in making words, melody 
and occasion blend in complete harmony. 

The wide use of the Te Deum is evidenced by the numer- 
ous translations into many languages, including not only 
English and German, but also French, Russian and other 
tongues, so that it may be said of the Te Deum, like it was 
of the Gospel on the Day of Pentecost, that it is heard by 
men of all nationalities in their own tongues in which they 
were born. 

It is well said of the Te Deum that it is the most Catholic 
of hymns, one of the oldest and one of the most univer- 
sally used by the entire Western Church. What the 
National hymn is to America the Te Deum is to Chris- 
tendom, a hymn known and loved and used as a great 
confessional hymn of loyalty by men of all varying forms 
of Christendom. 

The Te Deum was chanted at the baptism of Clovis; 
it was sung at Queen Victoria's great Jubilee, as also at 
the coronation of Czar Nicholas II, at Moscow, Russia. 
Since the beginning of the sixth century it has been espe- 
cially assigned as a hymn for regular use in the Sunday 
morning service, a distinction which is peculiar to this 
hymn which is also especially set apart as the supreme 
expression of the overflowing gratitude of the human 

In the Roman Catholic Church the ritual expressly 
prescribes that the Te Deum must be sung at the con- 
secration of a bishop, the coronation of a king and the 
consecration of a virgin, the election of a pope, the canon- 
ization of a saint, the publication of a treaty of peace or 
of an alliance in favour of the church. These latter uses 
indicate the manner in which the Roman church intrigues 
in civil affairs at the same time that they reflect the 


character and value of this great and ancient hymn of the 

Protestant countries have of their own volition, without 
ecclesiastical decree recognized the merit of this great 
hymn by using it in connection with the coronation of 
Protestant rulers, as also as a song of thanksgiving on the 
occasion of great victories, such, for example, as Agincourt 
and Waterloo. The fact that the lofty expressions of 
praise and thanksgiving of the Te Deum, used in national 
festivals as the full-hearted expression of a nation's trust 
and faith and gratitude in so many instances and on so 
many occasions, is striking proof of the communion of 
saints, as it is so beautifully linked with our confession of 
faith in the church itself in the language of the Apostles' 

The use of such a hymn on every occasion is not proper. 
It is travesty on praise and faith to use it as a sort of 
Christian war-whoop over fallen foes, as Napoleon used 
it when he came fresh from the massacres of the Bouevards, 
and as it was chanted at Rome in honor of the massacre of 
St. Bartholomew. This incident suggests the words of 
the ancient heathen poet — 

"Unholy is the sound 
Of loud thanksgiving over slaughtered men." 

May it never again be sung because of triumphs of 
armies on fields of blood; but instead may the whole world 
sing this international anthem of thanksgiving to God for 
His influence in making the nations of the world to be at 
peace and to have the principle of Divine Love emphasized 
in a universal brotherhood which will overcome all inter- 
national hatreds and make war impossible. What a 


Te Deum would this be echoing around the world and 
mingling the voices of millions in thousands of tongues 
singing the International Anthem of praise in a chorus so 
large and loud as to echo and re-echo through all heaven. 
What a Te Deum, the climax of song which has blended 
in one through ages the voice of prayer and praise from the 
lips of believing men and women, and sent it ringing 
through the arches of the temples of men on earth and 
re-echoing through the heaven of heavens as the mighty 
sound of sweetest harmony to the ear of a listening God. 

"the te deum laudamus" 

We praise Thee, O God: we acknowledge Thee to be the 

All the earth doth worship Thee: the Father everlasting. 

To Thee all Angels cry aloud: the heavens, and all the 
powers therein. 

To Thee Cherubim and Seraphim: continually do cry, 

Holy, Holy, Holy: Lord God of Sabaoth; 

Heaven and earth are full of the Majesty: of Thy Glory. 

The glorious company of the Apostles: praise Thee. 

The goodly fellowship of the Prophets: praise Thee. 

The noble army of Martyrs: praise Thee. 

The holy Church throughout all the world: doth acknowl- 
edge Thee; 

The Father: of an infinite Majesty; 

Thine adorable, true: and only Son; 

Also the Holy Ghost: the Comforter. 

Thou art the King of Glory: O Christ. 

Thou art the everlasting Son: of the Father. 

When Thou tookest upon Thee to deHver man: Thou didst 
humble Thyself to be born of a Virgin. 

When Thou hadst overcome the sharpness of death: 
Thou didst open the kingdom of heaven to all believers. 

Thou sittest at the right hand of God: in the glory of the 

We believe that Thou shalt come: to be our Judge. 


We therefore pray Thee, help Thy servants: whom Thou 
hast redeemed with Thy precious blood. 

Make them to be numbered with Thy saints: in glory ever- 

O Lord, save Thy people: and bless Thine heritage. 

Govern them: and hft them up for ever. 

Day by day: we magnify Thee. 

And we worship Thy Name: ever, world without end. 

Vouchsafe, O Lord: to keep us this day without sin. 

O Lord, have mercy upon us: have mercy upon us. 

O Lord, let Thy mercy be upon us: as our trust is in Thee. 

O Lord, in Thee have I trusted: let me never be confounded. 

The hymns which we sing are a most important element 
in worship, the use of which is one of the blessed fruits 
of the evangelical principles of worship which have come 
to us as one of the results of the great Reformation of 
the sixteenth century. Samuel Taylor Coleridge says, 
"Luther did as much for the Reformation by his hymns as 
by his translation of the Bible." Of course, the hymns of 
the church cannot take the place of the Word of God, 
but they stand only second to it. Indeed, through them 
some of the most precious truths of the Scriptures are 
sung into the hearts and the lives of Christian people. 
If our readers will have learned to sing the hymns of the 
Church with more thought as to their contents; to select 
those w^hich they use with greater regard to their meaning 
and association, and wath a fuller realization of their power 
to lift the soul up to God and to impress upon heart, 
mind and soul the blessing of God which rests upon those 
who worship Him in sincerity and truth, our labor of love 
in writing of some of the great favorites among the hymns 
of the church will have its reward in the more intelligent 
and effective use of hymns, whether it be in public or in 
private worship. 







Abide with me! fast falls the eventide i66 

A charge to keep I have i44 

A deep and holy awe 171 

A few more years shall roll 40 

A hymn of glory let us sing 108 

Alas! and did my Saviour bleed 64 

All glory be to God on high 131 

All glory, praise, and honor 76 

All hail the power of Jesus' name! 81 

A Mighty Fortress is our God 180 

Angels from the realms of glory 22 

Another year is dawning 39 

A pilgrim and a stranger 230 

Asleep in Jesus! blessed sleep 226 

As with gladness men of old 44 

Awake, my soul, and with the sun 154 

Away in a manger, no crib for His bed 28 

Before the Lord we bow 207 

Blessed be the Lord God of Israel: for He hath visited and re- 
deemed His people 18 

Brief life is here our portion 41 

Brightest and best of the sons of the morning 46 

Calm on the listening ear of night 31 

Christ Jesus lay in Death's strong bands 89 

Christ the Lord is risen again 91 

Christ the Lord is risen today 90, 94 

Come, Holy Ghost, in love 122 

Come, Holy Ghost, our souls inspire 123 

Come, Holy Spirit, God and Lord ! 114 

Come, Holy Spirit, heavenly Dove 66 

Come, let us anew our journey pursue 42 

Come, my soul, thou must be waking 151 

Come, O come, Thou quickening Spirit 118 

Come, Thou almighty King 128 

Come, ye thankful people, come 206 

Commit thou all thy griefs 218 

Conquering Prince and Lord of glory 105 



Draw us to Thee, Lord Jesus no 

Fear not, O little flock, the foe, 193 

From Greenland's icy mountains 49 

Glorious things of Thee are spoken 187 

Glory be to God on high 20 

Glory be to Jesus 71 

God bless our native land! 212 

God of mercy! God of grace! 59 

Good news from heaven the angels bring 27 

Go to dark Gethsemane 70 

Great God! we sing that mighty Hand 37 

Guide me, O Thou great Jehovah 138 

Hail, Father, Son and Holy Ghost 131 

Hail, holy, holy, holy Lord! 83, 130 

Hail the day that sees Him rise 112 

Hail, Thou once despised Jesus! 66 

Hark ! the herald-angels sing 24 

Hark! what m.ean those holy voices? 25 

He leadeth me! O blessed thought! 140 

Here behold me, as I cast me 169 

Holy Father, hear my cry 133 

Holy, holy, holy Lord 133 

Holy, Holy, Holy! Lord God Almighty!. 126 

How sweet the name of Jesus sounds 34 

I am Jesus' little lamb 100 

If thou but suffer God to guide thee 221 

I gave My life for thee 148 

I love Thy Zion, Lord 190 

In the Cross of Christ I glory 74 

It came upon the midnight clear 30 

I think, when I read that sweet story of old loi 

I would not live alway; I ask not to stay 223 

Jerusalem, the golden 231 

Jesus Christ, my sure defence 227 

Jesus, Hail! enthroned in glory 68 

Jesus, Lover of my soul 233 

Jesus! Name of wondrous love ! 35 

Jesus, pro me perforatus 238 

Jesus shall reign where'er the sun S3> 66 

Jesus, still lead on 13S 

Jesus, Sun of Righteousness 152 

Jesus, Thy Blood and Righteousness ij7 

Joy to the world, the Lord is come! 66 

Just as I am, without one plea 62 



Lead us, heavenly Father, lead us 127 

Light of the Gentile nations 46 

Lord God, we worship Thee 206 

Lord, keep us steadfast in Thy word 176 

Lord, now lettest Thou Thy servant depart in peace 21 

May the grace of Christ our Saviour 133 

Mine eyes have seen the glory of the coming of the Lord 214 

My Church! my Church! my dear old Church! 225 

My country, 'tis of thee 209 

My faith looks up to Thee 1 74 

My Jesus, as Thou wilt! 216 

My soul doth magnify the Lord : and my spirit hath rejoiced in 

God my Saviour 16 

Nearer, my God, to Thee 241, 245 

Now hushed are woods and waters 164 

Now pray we all God, the Comforter 117 

Now thank we all our God 202 

O God of Jacob, by whose hand 38 

Oh, enter, Lord, Thy temple 120 

Oh, help us. Lord ! each hour of need 78 

O Holy Spirit, enter in 120 

O how shall I receive Thee? 9 

O Uttle town of Bethlehem 29 

One sweetly solemn thought 41, 143 

On Jordan's banks the herald's cry 12 

Onward, Christian soldiers 200 

O sacred Head, now wounded 68 

Oh, say, can you see by the dawn's early light! 213 

O Thou, who through this holy week 80 

Our God, our Help in ages past 36 

Out of the depths I cry to Thee 58 

O where are kings and empires now? 192 

Paschal Lamb by God appointed 68 

Rejoice, all ye believers 14 

Ride on, ride on in majesty! 77 

Rock of Ages, cleft for me 236 

Saviour, breathe an evening blessing 168 

Saviour, like a shepherd lead us 99 

Saviour, sprinkle many nations .^ 56 

Saviour, teach me day by day .' 91 

See the Conqueror mounts in triumph 109 

Shepherd of tender youth 102 

Show pity, Lord; O Lord ! forgive 60 



Silent night! Holy night! 32 

Sion, the marvellous story be telling 26 

Softly now the light of day 159 

Songs of thankfulness and praise 45 

Sun of my soul, Thou Saviour dear 160 

Take my life and let it be.^ 147 

The Church's one foundation 189 

The day of Resurrection! 96 

The Lord my Shepherd is 98 

The morning bright 156 

There is no name so sweet on earth 35 

The Son of God goes forth to war 52 

The strife is o'er, the battle done! 85 

Thou Judge of quick and dead 12 

Thou, whose almighty word 54 

Very old stone, split for my benefit 238 

We give Thee but Thine own 146 

Welcome, happy morning! age to age shall say 87 

We praise Thee, O God ! We acknowledge Thee to be the Lord . 247, 251 

When His salvation bringing 79 

When in the hour of utmost need 197 

When I survey the wondrous Cross 65 

While shepherds watched their flocks by night 23 

WTiile with ceaseless course the sun 42 

Ye servants of the Lord 145 

Zion stands with hills surrounded 191 


Adams, Sarah F 8i, 240 

Adams, Wm. B 241 

Adolphus, Gustavus 193 

Alexander, James W 69 

Alfonso, St 72 

Alford, Rev. Henry 206 

Altenberg, Johann Michael . . .194 
Ambrose, Bishop of Milan, 

124, 247 

Asaph, Dean of 50 

Augustine 247 

Bacon, Leonard Woolsey 182 

Baring-Gould, Rev. S 199 

Bede, Venerable 107 

Benson, Louis F 139 

Bernard, St., of Clairvaux . . 34, 69 
Bernard, St., of Cluny. . . .40, 230 

Bernard of Italy 77 

Bethune, Geo. W 35 

Blakewell, John 67 

Bonar, Horatius, 40, 132 

Borthwick, Miss Jane, 

13, 153, 216, 229 

Bowring, Sir. John 73 

Brandenburg, Elector Freder- 
ick Wilhelm of 229 

Brandenburg, Louise Henri- 
etta, electress of 228 

Brooks, C. T 212 

Brooks, Phillips 28 

Bugenhagen, Johann 198 

Bunsen, Baron 164 

Butterworth, Hezekiah, 

123,210, 248 

Camerarius, Joachim, 198 

Canitz,von, Friedrich Rudolph, 


Carey, Henry 211 

Carey, Phoebe 41, 141 

Caswell, E 73 

Cawood, John 25 

Chandler, John 12 

Charlemagne 77, 124 

Charles II of England 154 

Charles V. of Germany 198 

Charles, Mrs. Elizabeth Run- 
die _ 15 

Clement of Alexandria 103 

Clovis 249 

Coflin, Charles 12 

Colenso, Bishop 188 

Coleridge, Samuel Taylor 252 

Con well, Russell H 142 

Cox, Bishop A. Cleveland. 55, 192 

Cox, Frances Elizabeth 165 

Cranmer, Archbishop 86 

Crueger, Johann 205 

Damascus, John 95 

Decius, Nikolaus 131 

Dix, Wm. Chatterton 43 

Doane, Bishop George W 159 

Doddridge, Philip 36, 145 

Duffield,S.W 31,80 

D wight, J. S 212 

Dwight, Timothy 190 

Dyke, John B 127, 140 

Eber, Dr. Paul 197, 198 

Edmeston, James, 128, 167 

Edward, King of England .... 244 
Ekkehard, Monk of St. Gall. .124 

Ekman, Conrad Oscar 196 

Ellerton, John 86 

Elliott, Charlotte 61 

Ewing, Alexander 231 




Faber, F. W 73 

Fabricius, Jacob 194 

Fliedner, Pastor 222 

Flower, Mr 240 

Fortunatus, Venatius 86 

Franck, Johann 46, 206 

Frederick the Great 204, 229 

Funcke, Friederich no 

Gellert, Christian F 93 

George, King of South Sea 

Islands 53 

Gerhardt, Paul, 

10, 69, 120, 164, 218, 229 

Gihnore, J. H 140 

Gladstone, Wm. E 237 

Gould, Rev. S. Baring 199 

Gray, Bishop 188 

Gregory the Great 1 24 

Gruber, Franz SS 

Guizot, M 106 

Gwyne, Nell 155 

Handel, George Friederich, 

94, 190 
Havergal, Frances Ridley . 38, 147 
Hayn, Henrietta Louise von . . 99 
Heber, Bishop, 

45, 49, 52, 126, 134, 242 

Heinrich, Karl 116 

Held, Heinrich 117 

Henning, Stephan 220 

Hesse, Landgrave of 115 

Hickson, William Edward . . . .212 

Hill, Rowland 191 

Holden, Oliver 82 

Homes, Oliver Wendell 210 

How, Wm. Walsham 34, 146 

Howe, Julia Ward 215 

Jacobs, Henry E 245 

Julian, John 57 

Kayser, Leonidas 115 

Keble, John 160 

Kelley, Thomas. •. 191 

Ken, Bishop 80, 153 

Key, Francis Scott 206, 213 

King, Joshua 79 

Kingsley, George 224 

Klug, J.. . 177 

Knorr, Christian Baron von 

R 153 

Koestlin, Theodore 181 

Laurenti, Laurentius 13 

Leeson, Miss Jane 91 

Lewis, Charles G 184 

Livingstone, Alfred 38 

Louis, Emperor 77 

Luke, Jemima Thompson loi 

Luther, Martin... 27, 28, 57, 88 

114, 116, 158, 176, 181, 203, 252 

Lyte, Rev. Henry Francis. . .165 

Macaulay, Thomas 155 

Mackay, Margaret 226 

Madan, Rev. Spencer 129 

Marenzo, L 205 

Marriott, John 54 

Mary, the Virgin 15 

Mason, Lowell. 51, 173, 210, 242 

Massie, Richard 89 

Melanchthon, Philip. . . . 182, 198 
Mendelssohn Bartholdi, Felix, 

23, 25, 132, 205 

Milman, Henry Hart 78 

Mohr, Joseph 31 

Montgomery, James 22,71 

Muhlenberg, Hon. Frederick 

Augustus 208, 224 

Muhlenberg, Henry Melchior, 

26, 219, 224 

Muhlenberg, Gen. Peter 208 

Muhlenberg, Wm. Augustus, 

26, 222 
Munzer, Thomas 115 

McDougall, Bishop 93 

McKinley, William 244 

Napolean Bonaparte 250 

Neale, John Mason, 

40, 79, 8s, 95, 231 

Neander, Joachim 169 

Neumark, George 220 

Newman, Cardinal 139 

Newton, John. . . 34, 41, '^33, 187 



Nicholas II, Czar 249 

Nitschmann, David 183 

Notker of St. Gall 90, 124 

Nottage, G. S., Lord Mayor.. 93 

Orton, J 145 

Palmer, Rev. Ray 121, 173 

Perronet, Edward 81 

Perthes, Frederick 116 

Pick, Dr. Bernard 183 

Pott, Rev. Francis 85 

Prague, Jerome of 86 

Rinkart, Martin 198, 203 

Robert, the Devout 123 

Runge, Christopher 229 

Sanderson, INIrs 214 

Saunders, Frederick 195 

Schaeffer, Charles W 117 

Schaff, Phillip i3> 69 

Schiller, von, J. C. F 165 

Schmolcke, Benjamin 216 

Scott, Rev. E. P 82 

Scott, Sir Walter 50 

Searles, Edwin H 30 

Shiple)', dean of St. Asaph .... 50 

Sigibert, King of Austrasia 86 

Simeon, the Prophet 21 

Sleidan, Johann 182 

Smith, Rev. Samuel Francis. . 210 

Spener, Philip Jacob 171, 196 

Stead, William T 98, 140, 182 

Stone, Samuel J 188 

Sullivan, Sir Arthur Seymour. .199 
Summers, Rev. Thos. 156 

Tate, Nahum 22 

Taylor, John 59 

Tersteegen, Gerhard 104 

Theodulph of Orleans 77 

Tholuck, Friedrich A. G 235 

Thring, Godfrey 157 

Toplady, Augustus M 236 

Vensen, Hans 117 

Vernon, Admiral 211 

Victoria, Queen 238, 249 

Wackernagel, C. E. P 120 

Wallenstein, General 194 

Walther, John 116, 182 

W^angemann, Dr 219 

V/arton, Joseph 177 

Watts, Isaac. . .35, 52, 59, 64, 98 

Webbe, Samuel 41 

Weisse, Michael 92 

Wesley, Charles. . . .13, 23,42,93, 
95, III, 129, 130, 144, 232, 237 

Wesley, John 137, 218, 220 

Whitfield, G 129 

William, Emperor of Germany 204 

William III, of England 155 

Williams, Aaron 190 

Williams, Rev. Peter 138 

Williams, Rev. V\'illiam 138 

Wink worth, Catherine. . .93, 104, 

116, 120, 179, 197, 204, 206, 

222, 228 

Wisdom.e, R. S 177 

Woodbridge, Wm. C 211 

Wordsworth, Christopher, 

44, 109, 133 

Zacharias, the High Priest .... 17 
Ziegenbalg, Bartholomew. . . .116 
Zinsendorf, Count. . . .92, 135, 136